JULY 2011 $7.10 incl gst
NZ’S SCREEN PRODUCTION INDUSTRY MAGAZINE
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48 Hours grand final winners Film techs get inventing NZFC Statement of Intent Digital film making
contents july 2011
4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton are through with 3D. 5
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Editorial
A quick word from editor Steven Shaw; Cartoonist Andy Conlan yearns for simpler times and fewer hard drives.
COVER: Mia Pistorius took home the Best Actress award for her performance in team Idiotvision’s Headshot, a finalist in the 2011 V48 Hours Furious Film Making competition. See page 10 for more winners. Photo: Supplied.
6 Short cuts Philip Wakefield rounds up NZ box office and television news from the NZ screen industry. 10
Another 48 Hours
Announcing the national winners of the 2011 V48 Hours Furious Film Making competition.
12 Get rocking when the cameras aren’t rolling Ever thought your solutions to on-set problems might be worth developing as a business idea? Nicci Lock of Film Wellington talks to savvy screen industry techs about their inventive streak.
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14 Digital film making: Get out and shoot Rising young director Logan McMillan has filmed earthquakes, zombies and westerns. Peter Parnham finds out more about the young gun who won’t leave home without his camera bag. 20 Digital film making: Data Wrangling Your data files are the digital era equivalent of your master negatives, says Nigel Burton, so you better make sure they’re in good hands. Film review
Helen Martin reviews Stephen Sinclair’s independent feature Russian Snark.
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Volume 28, Number 6
Across the ditch
James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country.
26 A legal view Legal expert David McLaughlin examines the recent copyright case over the un-cleared use of facial tattoo designs in US comedy The Hangover: Part II. 28
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w e i v e t a A priv Money’s too tight dimension As we all know, New Zealanders are early adopters of technology. We’re famous for by doug coutts it. We were, after all, the very first to harness fire, develop the wheel and create an employment niche for poor spellers, lispers and the completely incoherent. As television journalists. Not surprisingly, I have always been ready to leap upon new gadgets with gusto. This was fine last century when I weighed in at less than 60 kilos, but these days planned obsolescence and unplanned obesity mean I have to leap with more circumspection. Be that as it may, I have a drawer full of labour-saving devices (as opposed to Labour-saving, of which there are, sadly, none), all of which promise to make my life better, simpler and/or more fulfilling – and did so, for about as long as it took to take them out of the box and insert the batteries. There are a couple of pieces of techno-cack that I refused to go near. One is the eBook. I’ve always been one of those Luddites who proclaimed that real books would never die, that you couldn’t replace the feel, ease of use and indeed the smell of real books, especially as they don’t need batteries. Then I tried one. And now I’m hooked. Partly because I’ve been bingeing on Scandinavian crime fiction over the past year. Not just Stieg Larsson – I’ve read all the other Swedes, a Finn, a couple of Icelanders and now a Norwegian. The upside of the Scandinavians is
that they write rollickingly good yarns, probably because there’s nothing else to do when it’s dark for 20 hours a day. The downside is that they write very long yarns which weigh quite heavily on the hand and wrist. If you buy a real book, that is. On my Kobo, on the other hand, they weigh nothing, and are real cheap. You can read your thousands of downloaded books anywhere, though probably not in sight of your local bookseller. The battery lasts for weeks and you can even get books from the library. (Although that’s a bit of a problem – those ones only last for two weeks so if you haven’t found out whodidit by then, too bad because the last page will dissolve back into the ether.) The other bit of bold new innovative technological breakthrough stuff I won’t have a bar of, and this time there’ll be no revisionism, is 3D. And, it seems, neither will the film-going public. After the initial rush at the box office, reports are that people are staying away in droves.
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Not that this should surprise anyone… well, anyone older than 30. The last attempt, before the latest round of attempts, to revive 3D was in the ’80s, with the flagship movie, a thing called Coming At Ya. As I recall, it was a spaghetti western and there were two key scenes where 3D was shown at its best. One was when a baddy pointed his gun at the camera, causing the more gullible members of the audience (I think that was three out of the 20 in the theatre) to duck. And the other, which pretty much summed up the whole enterprise, was a shot of a baby being lowered onto a potty, POV from the potty’s interior. No one ducked, we all ran for the exit… There have of course been many revivals of 3D, dating back almost to the beginning of recorded cinematography, each one coinciding with flagging returns at the box office caused by the arrival of television, the arrival of cable television, the arrival of the internet and/or the arrival of warmer weather. Or possibly even the arrival
of eBooks… Like most revivals, they’ve never managed to last. And, like most revivalists, the people behind 3D haven’t worked out why. What’s blindingly obvious to the rest of us is that it’s less a matter of making the technology better than making the content more interesting. You can witter on about inter-ocular distance all you like, you can assure the punters that the spectacles are sterilised by plutonium-based chemicals, but it’s not going to work for long unless you have a good product. The punters aren’t stupid. They can tell if, even though the scenery’s 3D, the characters and plots are strictly 1D. Avatar, for example… those silly floating frondy things looked good but couldn’t disguise a derivative cliché of a script. That’s why 3D fails and eBooks don’t – it’s all a matter of content. And battery life. The only bugger is some of us need to wear spectacles for both.
e t o n s ’ Ed Players only love you when they’re playing
Andy Conlan’s view
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he news of a film co-production agreement between New Zealand and India, announced by Prime Minister John Key sounds great, until you hear that many local techs who worked on the NZ shoot of Indian production The Players – a Bollywood remake of The Italian Job – were left unpaid and out of pocket. There have also been reports from industry sources of non-permitted shoots and other complete no-nos. While picture postcard scenes from New Zealand may attract the Indian tourist market, it remains to be seen if there will be any real benefit to the NZ screen industry from this agreement. Meanwhile, local film funding is about to get even tighter, with reduced budgets announced by the NZ Film Commission in its Statement of Intent. Phil Wakefield takes a look at the SoI and its implications, as well as the NZFC’s track record of achievements and its plans for navigating a tough time ahead. We can expect the screen industry to be squeezed even further over the next few years as government support and funding for public broadcasting dwindles. I’m not just talking about the all-too imminent demise of TVNZ 7. Free to air broadcasters already struggle to compete against pay TV for screening rights; something we’ve seen with sports and high quality international drama. As free to air competes for viewers in prime time, the danger is that local production will become even more marginalised. Make no mistake, our film industry still needs trained and experienced people. It’s one of the pivotal roles that television production plays – it’s a training ground for film, and provides ongoing work when feature films are thin on the ground. Lucky for us then that we still have the 48 Hours Film Making competition. Thanks to the Sir Peter Jackson/David Court review of the NZFC, the competition is now recognised by the Ministry of Culture and Heritage as where the next generation of NZ film makers will come from. This year’s competition was huge, with over 800 teams and more than 10,000 participants. And lucky too, that our film techs have learnt to weather the hard times. In this issue, Nicci Lock of Film Wellington rounds up a group of film industry professionals who have identified niche business opportunities and successfully pursued them. Digital film making – both high end and low-budget – is another key theme in this issue. Peter Parnham talks to Cantabrian film maker Logan McMillan about the Christchurch earthquake, and his low-budget zombie films and interactive online TVCs. Plus, director Florian Habicht shares his love of digital film making and the new breed of DSLRs. Florian’s beautiful new film, Love Story, was filmed mostly on a Canon 5D, and it opened the NZ International Film Festival in Auckland this month. That’s quite an achievement on a low budget, and proves that ideas and originality can still win the game. So long as we’re still playing, that is. – Steven Shaw, editor
What we’re reading... N
ew Zealand Film: An Illustrated History, edited by Diane Pivac, Frank Stark and Lawrence McDonald and published by Te Papa Press, in association with the New Zealand Film Archive. This colourful hardcover book documents New Zealand’s love affair with movies and movie making, setting sail through NZ’s history in film, from when “Edison’s latest marvel, the Kinematograph� was unveiled as part of a vaudeville era programme of short films, through Kiwi classics like Goodbye Pork Pie and Smash Palace, and into the modern era’s cutting edge digital cinema technology. With many previously unseen images and untold tales, the book contains 25 essays, penned by respected writers, film makers and industry insiders. There’s even a foreword by one of the biggest fans of New Zealand cinema, Sir Ian McKellen. New Zealand Film: An Illustrated History comes with a DVD of clips from some of NZ’s most noteworthy films. At bookstores nationwide or buy it online at www.tepapastore.co.nz.
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Short cuts
Transformers © 2011 Paramount Pictures.
By Philip Wakefield Transformers lights up box office Transformers: Dark of the Moon lit up the box office more than any other film to date this year when it opened on $2,130,652. The result rocketed it to first place in the top 10 opening weekends of 2011 and earned it eighth place on the NZ Top Opening Weekends of All Time list – where the first sequel, Revenge of the Fallen, sits in fourth position on $2.4 million. Transformers 3’s June 30 opening was Paramount Pictures NZ’s biggest yet – 117 screens (Fallen opened on 97) – and 67% of its business was driven by 3D sessions. This compares with the 60% reported in the US, which has suffered a summer of declining 3D admissions for tentpole releases, and 70% internationally. The year’s previous biggest opening belonged to Pirates of the Caribbean: On Stranger Tides, which six weeks earlier amassed $1.5 million, despite being on nine more screens.
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In addition to Transformers 3’s four-day tally, it grossed $413,072 in Wednesday night previews. However, compared to the top 20 box office for the corresponding weekend last year, overall receipts were down by $335,759 ($3,573,228 vs. $3,908,987). Meanwhile, Cars 2 opened on $1,075,862 a week ahead of Transformers 3, which was the sixth highestopening week of the year (its opening weekend of $926,087, on 105 screens, was the year’s fifth highest). At press time, the year’s highestgrossing release of 2011 remained The King’s Speech, on $5.2 million. Devil gets its due Vendetta Films will release The Devil’s Rock in NZ on September 22. This month the low-budget D-Day horror also made its North American theatrical debut at the Fantasia Film Festival in Montreal. Entertainment One owns all North American rights to writer/
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director Paul Campion’s first feature, but its US plans weren’t known at press time. Website Shock Till You Drop has dubbed the supernatural thriller about Kiwi commandos and Hitler’s occult squadron “Saw with swastikas” after catching it at Cannes. “Okay, it does get a bit too talky in the middle, but visual effects man Campion (Clash of the Titans, Narnia) makes the most of the cramped spaces with great lighting design and strings out the limited plotline into neat areas.” And in its review, Horrortalk.com praised not only the “fantastic use of gore” and “really impressive” effects but also the writing and the performances of Craig Hall and Matthew Sunderland. “There is an emphasis on dialogue and a rapport between the two lead characters that make it more than just an all-out gorefest, it has more depth than that … “It is at times very drawn out but
the slow-paced dialogue and creepy atmosphere lead up to one hell of an ending that really highlights Campion’s knowledge of special effects.” NZ Film has fielded offers from Germany, Greece, Australia and Japan since announcing the Entertainment One deal and expects more over the coming months. It also just sold The Vintner’s Luck for all of German-speaking Europe and has pre-sold The Most Fun Dying to the Middle East. Almighty Johnsons series 2 shooting soon South Pacific Pictures will start shooting series two of The Almighty Johnsons in early October. Last month NZ On Air approved $6.9 million for another 13 episodes – three more than for the first series, which cost $5.7 million and averaged a 9.8 rating and 25.7% share of TV3’s target 25-54 demographic. At press time the crew was being confirmed, but Simon Bennett, who’s
Paul Campion’s The Devil’s Rock.
been post-producing his directorial feature debut, Sione’s 2, will again produce. The core cast also will be back, with the 17-week shoot filming around Dean O’Gorman’s Hobbit commitments. New to the storylining team is Ross Hastings and the production will be based at South Pacific Pictures’ Henderson studios, where Nothing Trivial was shot. When Nothing Trivial goes to air this month on TV One (8.30pm Wednesdays), it will have had one of the fastest turnarounds of any NZ drama series: the 17-week shoot wrapped on June 23 and the premiere is on July 20. Then again, TVNZ was quick off the mark from the outset, announcing the $6.9 million production even before NZOA had considered the application. Fittingly, Rachel Lang and Gavin Strawhan’s 13-part comedy/drama, about five pub quiz-mad friends, will
be given a pub quiz-style launch on July 13. Maori TV sets sights on year 10 Maori Television has set up an in-house production department but won’t be cutting its external commissions. “A definitive no,” chief executive Jim Mather said when asked if the channel’s new strategy would limit opportunities for independent producers, “High-end documentaries and productions will still be externally commissioned.” He says the contestable fund, overseen by Te Mangai Paho, will be “separate and independent” of the initiative. “I don’t see this in-house department competing for contestable funding. We will continue with the same [commissioning] levels as currently.” But Mather sees cranking up inhouse production, and retaining the intellectual property, as crucial to Maori TV expanding its reach across
The Almighty Johnsons © South Pacific Pictures Ltd. Photo: Jae Frew.
multiple platforms over the next three years. “We’re looking ahead to our 10th anniversary in 2014,” he says. “Maori TV Year 10 has been the theme of our strategic planning. “We have performed credibly as a traditional broadcaster but to remain relevant to our viewers, we must evolve beyond that into a media organisation. “We see in-house produced programming as being a core competitive advantage that Maori TV needs to build on. We’re producing more than 50 percent [of hours] in-house and owning that content allows us to do more with it.” To that end, Maori TV has created two key posts: general manager digital and general manager production. Ex-senior TVNZ and Fairfax Media executive Stephen Smith will shape the digital strategy and veteran broadcaster Carol Hirschfeld, who joined Maori TV two years ago, will run in-house production.
Mather says the reorganisation is to not only implement a digital strategy but also develop and expand content on Maori TV’s sister channel, Te Reo. “We want to increase production of our 100-percent Maori language programmes for Te Reo,” he says. Previously, Maori TV’s in-house production of sport, light entertainment and general programming was done within another department; Mather believes setting up a separate unit will make production more costeffective. “Although we are budgeting for the same number of hours in the 2011/12 year [1,185], the expectation is that there will be increased quality and quantity throughput in the next financial year,” he says. “However, this expectation has not been quantified at that stage.” Maori TV also is revamping its news service. It’s already moved its flagship bulletin, Te Kaea, from 7.30pm to 5.30pm, to expose it to
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Taika Waititi’s Boy, and below, Mike and Rosemary Riddell’s The Insatiable Moon – both screening on Rialto Channel in August.
given what could be a tiny market. This is despite the series selling to broadcasters around the world, winning the best international series award at this year’s Baftas, and prompting the US remake – which has been renewed for a second season by AMC, the cable channel whose Emmy-winning darling, Mad Men, it could seriously challenge in the best drama stakes.
a wider audience before the other networks’ 6pm news hours, and so the 7.30pm bulletin can be subtitled in English for non-Maori language speakers. It also will be using social media, particularly Facebook and Twitter, and mobile applications to provide viewers with updates, and will refresh its website with “community journalism” and an improved on-demand service. Sky snares Killing before TV3 While the Danish crime sensation, The Killing, continues to languish for a NZ broadcast or DVD release, Sky TV has snapped up the pay rights to the US remake. Because Fox Television Studios produced it for the AMC cable channel, the series normally would have aired first on TV3, under MediaWorks TV’s output deal with distributor 20th Century Fox TV. However, it turns out Fox is entitled to offer one cable series a year to Sky for screening on one of its premium channels, like Sky Movies. It’s only happened once before, 8
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with the 2005 Iraq War flop, Over There. But following on from last year’s acquisition of Boardwalk Empire, which screened on Sky Movies, Sky has been quietly stockpiling prestigious cable dramas like The Killing and HBO’s Treme (which already has been released here on DVD and Blu-ray). The Killing earned similar acclaim to the 2007 original, which has aired across the Tasman on SBS and in the United Kingdom on BBC4. The BBC diginet has successfully developed a niche Euro-crime slot with subtitled series like The Killing and France’s Spiral, and has just invested in another Danish import, Borgen. But none of NZ’s smaller broadcasters, like MTS and Stratos, both of which screen international dramas (the latter has City of Men and the former, Rabbit Fall) appear to be interested. Similarly, Madman Entertainment, which distributed The Killing on DVD in Australia, is still debating if it’s worth the cost of doing likewise here
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Four’s a jolly good fellow MediaWorks TV programming chief Kelly Martin says a revamped Four is exceeding ratings expectations. “Four is more successful than our original projections,” she says of the decision to turn the niche youth channel into a mainstream entertainment option for 18-49 year-olds while skewing older with TV3 so it can challenge TV One for the 25-54 audience. “We do still have work to do on Three – it’s the more challenging piece of the puzzle, but it always has been. Even without Four in the mix, I think we would have work to do. “We’re happy with the local content that we do have, but we need more of it. And we’re suffering because many of our international series are not firing the way they used to. “So that’s what we need to work on ... and we are. Watch this space – the second half of the year is looking very much stronger, and I’m sure that in 2012 we’ll be firing on all cylinders.” According to data provided by MediaWorks TV, the biggest audience gains in the first half of the year for Four have been on Sundays, Tuesdays and Saturdays, with its channel share jumping between 46.5% and 96.7% (on average its shares have ranged from 4.2% on Mondays to a 7.1% on Sundays). While Four has also lost share – as much as 24.9% on Thursdays –
overall ratings have grown by 15% and share by 19% year-on-year. Martin says Four’s growth hasn’t been at TV3’s expense because MediaWorks TV’s overall footprint has gone up since the new season launch, which was the rationale behind the new strategy. Pivotal to Four’s popularity have been ex-TV3 properties, like The Simpsons and Family Guy. While they don’t draw the audiences they did on TV3, their ratings are relatively higher than Four’s overall performance during peak-hour. All New Simpsons on Sunday rates about 90% higher than Four’s peak average rating and Family Guy is about 74% higher, making them key to the channel’s growth and evolution. As a result, the channel’s combined 7pm weekdays share, with The Simpsons on Four and Campbell Live on TV3, is up year-on-year in both the 18-49 and 25-54 demos. Martin says there has been no significant erosion of viewers, as Campbell Live has grown in 25-54 and Four has shown “massive growth” in 18-49, which was part of the strategy. TV3’s other key, year-on-year 2554 gains have been for Bones, Sons of Anarchy, The Graham Norton Show, New Zealand’s Next Top Model, 60 Minutes and 7 Days while new shows like Drug Bust, Almighty Johnsons and Kalgoorlie Cops have shown relatively higher ratings in 25-54 compared to 18-49. Rating a mention Maori TV will screen the free-to-air world premiere of Boy on October 1 but there’s still no sign of the Bluray edition that Universal Pictures planned to release earlier this year … Boy also will be part of the Rialto Channel’s NZ film and short film month in August. Headlining the season will be the TV premieres of The Insatiable Moon (August 20), and After the Waterfall and Songs for a Bigger Island (August 27). Short films will include: Six Dollar Fifty Man; Two Cars, One Night; Little Angel; Roof Rattling; Double Happy; Choice Night; Kehua; Aphrodite’s Farm; Amadi; Day Trip; Winter Boy; Vostok Station; The Witch and the Woodsman; Rabbit; Tee Party; Time for a Change; First Contact; Finishing Touch; Das Tub; and Cookies & Scream … At press time TV3’s ratings for its fourth run of Outrageous Fortune’s first season were slowly starting to build, with episode three drawing five percent of 2554 year-olds and 5.8% of household shoppers – comparable to many of the movies the network had been airing in the 8.30pm Saturday slot. Continued on page 27
NZFC spruces up SOI By Philip Wakefield.
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he NZFC was determined to make a statement with its latest Statement of Intent. Following Audit NZ’s criticism of previous SoIs, it adopted a fresh, more thorough approach to explaining its three-year-strategy. “We put a lot more effort into the SoI this year,” says finance director Mladin Ivancic, singling out accountant Janka Palinkas for her work on the document. “For two years we trod water until the Jackson review came out. There was no point in doing a strategic plan until we knew what headline recommendations were.” But the SoI’s key statistics aren’t just confined to the accounts. They also include: • The NZFC investing more than $200 million in 148 features and 300 shorts since its inception; • The highest-grossing movies have been those with exceptional levels of cultural content (Once Were Warriors, Whale Rider, The World’s Fastest Indian, Boy); • The trend for domestic patronage of NZ movies is rising, although it’s declined sharply since Boy; • One in seven short film directors goes on to make a feature; • The number of people employed in the screen industry is forecast to rise from 6700 in 2009/10 to 7000 because of The Hobbit; • The number of NZFC-funded shorts is forecast to jump from eight in 2009/10 to 22 for each of the next four years; • The number of scripts in advanced development that received NZFC development funding was 14 in 2009/10 but is targeted at 10 from 2011/12; • The number of producers receiving travel assistance to international markets will halve from 17 in 2009/10 to nine in 2010/11 and eight in 2011/12; • The number of NZFC-funded features each year will halve from eight to four over the next three years. Chief executive Graeme Mason says the new-look SoI is only the first step
towards improving the NZFC’s communications with stakeholders. “Starting next year, we will make the SoI accessible to taxpayers, so they can read and understand what we are all doing.” In the meantime, the Ministry of Culture and Heritage, in its response to the NZFC review, says over the past 12 months the agency has built a stronger relationship with the industry, and supports its plan to conduct an annual external survey of industry satisfaction with its performance. If you think times are hard now… Filmmakers don’t have to read between the lines of the NZFC’s Statement of Intent to see the funding agency is facing historically hard times. Finance director Mladen Ivancic reckons the next three years will be the most challenging in his 20 years with the NZFC. And no wonder, given government funding is static, film sales are declining, reserves are running dry, and incentive mechanisms are under review amid an ongoing global financial crisis. But Ivancic stops short of dubbing prospects as dire, even though he acknowledges the NZFC’s conservative budgeting policy means its 2013/14 forecast is the worst case scenario. For the financial year just ended, the NZFC’s operating income was $19.6 million and total income, including the Screen Production Incentive Fund which it administers, $36.5 million; if SPIF doesn’t continue beyond 2013, income will more than halve to $14.5 million. “It’s prudent not to assume the SPIF pot will be replenished in two years’ time when it runs out,” Ivancic says. In which case, feature funding would drop from $9.9 million to just over $8 million for each of the next three years while short film funding would be pared back from $1.1 million to $750,000. But the biggest casualty would
NZFC chief Graeme Mason.
be script development, with about $550,000 ear-marked for excision. The NZFC expects to keep funding about six features a year but, with fewer documentaries being commissioned for TV, more of these will be long-form factual. They will require a tenth of the stake – typically $200,000 versus $2 million – but will further squeeze NZFC resources for traditional features. That means the industry has to face up to making fewer features – or learn how to make them for less money or with alternative funding to top up the NZFC’s declining contribution (which will reduce from 90%-plus to 70%). Given the worldwide credit crunch, that may seem nigh impossible – but half of Love Birds’ budget came from offshore and director Paul Campion was able to bring in his first feature, The Devil’s Rock, for well under $1 million. Campion’s Weta connections would have helped but filmmakers will have to think laterally if they’re to make movies as cheaply as their peers in Ireland, Denmark and Israel, where they have shorter shoots and smaller crews, or bigger territories where there are economies of scale and aggressive facilities and labour competition. Naturally, the NZFC is trying to be optimistic about the challenges
Boy.
ahead – partly because some in the industry already accuse its executives of being too gloomy; but mostly because it doesn’t want to scare off potential investors. “I want to get out a positive message,” chief executive Graeme Mason says of the competing pressures on the NZFC’s dwindling capital. “It’s fantastic to have so many people who have stories they want to share. “But we must recognise the multiple calls on funding … The Film Commission has to help the industry to find outside funding and to make movies for less.” To that end, the NZFC is reviewing funding guidelines and has set up a sub-committee of the board to explore how filmmakers can access third-party finance. It’s also signalled it will work with “key industry practitioners” to develop new revenue streams, such as the box office incentive scheme and mezzanine distribution fund recommended in the NZFC review. The Ministries of Culture and Heritage and Economic Development also have agreed to investigate private investment incentives, and to see if it’s possible to leverage better foreign investment from co-production agreements while negotiating new treaties with more strategic nous.
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Another 48 Hours A fad about jumping over children, a van hijacking and an animated comedy were the toast of this year’s V48 Hours Furious Film Making competition. Team Grand Cheval (left to right): Andrew Burfield, Tim Armstrong, Tim Batt, Cam Neate and Tom Furniss. Photo: Joe Hockley.
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he national finals of the V48 Hours Furious Film Making competition were held at the Civic Theatre in Auckland on Saturday July 2. The event was hosted by Oliver Driver, with guest appearances from a hilarious
Tom Cruise impersonator. 48 Hours began back in 2003, with 44 teams taking part. This year’s event, filmed on the weekend of 20-22 May, had over 800 teams and more than 10,000 participants. It’s New Zealand’s
Grand Cheval’s Tim Batt with Tom Cruise impersonator. Photo: Joe Hockley.
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largest film competition, recognised by Sir Peter Jackson, the NZ Film Commission and the Ministry of Culture and Heritage as the birthplace of our next generation of film makers. The rules are simple – each team is given a movie genre. All teams must incorporate certain elements into their film that are only revealed at the start of the shoot, including a character name (Bobby Young), a line of dialogue (“What have you got?”), a prop (a piece of bent wire), and a filmic technique (finishing on a freeze frame). The Grand National Champ prize was awarded to Auckland team Grand Cheval for their fad genre mockumentary short The Child Jumpers, about “chumping”, a new street level sport involving jumping over unsuspecting children. With that, they also took home $60,000 in cash, cameras and a TV from sponsors. “It’s incredible that we won – we’re stoked,” says Tom Furniss, Grand Cheval team leader and co-director, who also won Best Actor at the regional Auckland
Final. “But don’t just judge us on this film; judge us on what we are going to produce with our prizes – hopefully you will be seeing more of us.” Runner Up was team Lense Flare for road movie Copy That, starring Johnny Barker with a story involving the hijacking of a vehicle. Animated short Meanie Pants by team Mukpuddy, in the quest genre, took third place and Best Animated film. The Panasonic Cinematography award went to team Couch Kumaras for their road movie Sketch. “These guys work damn hard within 48 hours and then produce some fantastic pieces of work, which as a country we can be truly proud of,” says event founder Ant Timpson. “Once again this competition has amazed me and we are thrilled to have it as a showcase for kiwi talent.” While there were plenty of belly laughs from the 13 finalist films, some films truly won the hearts of the audience. One firm favourite was Idiotvision’s Headshot, for which actress Mia Pistorius won Best Actress.
V48 Hours 2011 Grand Final Winners Grand National Champ Grand Cheval The Child Jumpers – Fad movie Grand National Runner Up Lense Flare Copy That – Road movie Grand National Third Place Mukpuddy Meanie Pants – Quest Panasonic Cinematography Couch Kumaras Sketch – Road Movie Images & Sound Sexiest Mr Manager The Gardener – Quest Rialto Channel Rising Talent Award Slurpedo Unitec Aspiring Filmmaker Study Prize Alan Parr (Idiotvision) MINI Best Road Movie Haynes Team Stuck in the Mini With You – Road Movie Loop Best Original Song Rubber Soul Well Strung – Musical/Dance Loop Best Original Score Couch Kumaras Sketch – Road Movie Media Design Best Animation Mukpuddy Meanie Pants – Quest Best Incredibly Strange Film Vault502 Blue Rising – Road Movie Best Actress Idiotvision Headshot – Mia Pistorius Best Actor Rubber Soul Productions Well Strung – Dinnie Moeahu, Ash Haimona Best Editing Pickle Thugs Nearest & Dearest – Crime Best Art Direction Irrational But Cunning Sick – Horror Best Makeup Traces of Nut feat. EPC Ruby Red – Musical/Dance Best Costume Traces of Nut feat. EPC Ruby Red – Musical/Dance WIFT Best Women Director Laurie Wright Best All Women Team SCC Unicorns Do you swing that way – Rom Com Best Use of prop Mo Appreciation Collective Circus Animals – One Room
Pistorius has appeared in Spartacus: Blood & Sand and Love Birds and is represented by Auckland Actors. That’s her on the cover, and winning Best Actress is only part of the reason for her laughter. You’ll have to watch Headshot to see why she’s laughing. Idiotvision’s Alan Parr also took away the Unitec Aspiring Filmmaker Study Prize. Parr finished a Bachelor of Performing and Screen Arts in Directing and Writing for Screen and Theatre at Unitec in 2008. He is using his award to return to Unitec in 2012 for postgraduate study. “When you leave your place of study, you can look back and think, wow, I really wish I’d made the most of that,� says Parr. “Definitely, when I come back, I want to soak up the place – the people, the resources, the opportunities that are there, and make full use of it.� Parr describes his storytelling style as starting with a ‘what if?’ scenario. He likes the freedom to cross genres, and can’t imagine making films that are too serious. “It has to have something
in there that makes people laugh. To the characters that are in it, the things that are happening in the film might be tragic, but to everyone watching, it’s funny.� Team Idiotvision have entered the V48 Hours competition numerous times, and have been a consistent favourite with the judges. In 2010, their film, Confessions of a Fabricator, was put through as a wildcard selection by Sir Peter Jackson and
The Child Jumpers by Grand Cheval (National Champs).
Meanie Pants by Mukpuddy (third place, winner Best Animated).
Headshot by Idiotvision (Best Actress award Mia Pistorius).
Well Strung by Rubber Soul (Best Actor award Dinnie Moeahu, Ash Haimona).
Guillermo del Toro. The film came runner up, and the prize money has gone towards writing, directing and producing an exciting new short film – 50% Off Mail Order Bride – due to be completed in August. Idiotvision’s The Revenger went through on the wildcard in 2009. • For more information and to view the short films made for V48 Hours, visit www.v48hours.co.nz/2011
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11
Get rocking when the cameras aren’t rolling It’s hard to make ends meet when projects are thin on the ground. Nicci Lock of Film Wellington talks to screen industry technicians who have developed other income streams from their on-set problem solving.
Michael Morrisey in Costa Botes’ Daytime Tiger.
T
Photo Higher’s Multi-rotor Cinema Series 6HL and Hoverfly Pro flight controller. Photos: Dean Zillwood.
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he last few years have been pretty tough for those working in film and TV. A smattering of big budget feature films and local and international TV productions are providing work, albeit for limited periods of time, and production budgets are lean. By its very nature, film making is an innovative process. The byproducts are new and clever ways to make the impossible possible or solve a problem, while delivering on the creative vision. But often that’s where it ends. It’s said that lean times are good for innovation. In our case it’s the talented, inventive and gutsy technicians that are putting their ideas and skills to good use and finding ways to generate income during down time, when the cameras aren’t rolling. Chances are, if you’ve produced a solution to a problem, someone else could use it to solve their own dilemma – and what’s more, they might pay for it. Ideas and inventions with the potential to be developed into commercially successful products and services are often left behind when their creators move onto the next job. What would happen if these were exploited beyond their initial use? Hil Cook and her business partner Angela Duncan are a great example of film techs who looked beyond the day-to-day demands of their on-set work and found new ways to make money.
Cook has worked as a prosthetics, SPFX makeup and hair artist in the screen industry for 20 years. With a team of three and herself to support, she has had to find new ways to put her considerable skills to good use and generate new sources of revenue beyond contract film and TV work. They started with makeup workshops to teach people the tricks of the trade. These became so popular that Bobbi Brown cosmetics sponsored them, supplying them with products. Next was the development and launch of their very own product, the Hil Cook Solution Bud, now on shelves across NZ and on sale online. Cook received an award for Best New Business in the 2010 HER Regional Wellington Businesswoman of the Year Awards and Cook and Duncan are developing an iPhone application for the screen industry. “Everything relates to the film and TV industry and the work we love,” says Cook, “But we’ve had to think a little outside the square to make more cash.” Currently based in Wellington after a stint on Avatar at Weta Digital, Sebastian Marino has created a digital pattern-making tool called 77 Pieces. As a technical director, computer graphics supervisor and lead researcher with A-list studios, including ILM, Sony Pictures Imageworks and Weta Digital, his hair, cloth and fur simulations for Star Wars: Attack of the Clones earned him and his
Kimberley Attewell, Photo Higher. Photos: Dean Zillwood.
colleagues a 2002 Academy Award and sparked an idea. While at Weta Digital, Marino developed pipelines for water, fire and smoke simulations, but was drawn back to soft materials and cloth. “I realised I was keen to get back into the start-up thing,” says Marino. “My earlier start-up company, Makani [www.makanipower.com], made high altitude glider planes [for wind generation], that are partially inflated. I realised at that point there were no engineering or design tools [for soft materials]. There is no CAD or computer drafting software for flexible things. So, 77 Pieces is making a digital tool for pattern makers to make real clothing with. “One of the fundamental things with computer generated clothing,” says Marino, “is getting it to fit right. The reason that it often doesn’t fit or look right is there is no concept of pattern-making in CG. You could take the best pattern maker in the world and sit them beside the CG artist and there is no real world connection or communication tool to meld the two worlds together accurately. Like the draftsperson’s technical drawing desk which has been translated into the CAD program that designers, architects and engineers use.” Marino launches 77 Pieces this year to the New Zealand fashion market, and then he’ll take it to the world. Craig Herring and Nigel Stanford of Rubber Monkey software have created Film Convert. “Our idea is to emulate film for the Red One,” says Herring. “Everybody loves the camera; the colours are not so nice though. They want it to look like film, which is our selling point – they want that film look and to have those film colours. “Having film makers come in and want their footage to look like film and then going off and spending $100k on film stock instead of shooting on the Red was kind of frustrating, as the Red has so much to offer, especially for lower budget filmmaking.
Sebastian Marino, 77 Pieces.
“We’ve built the software for Red but we’ve got a pipeline now that can pretty much take any camera and any film stock and make them look identical. We have tools to match two different cameras so you can shoot on your principal camera and then shoot your pick-ups on another and they will look identical, which is a problem at the moment – the footage doesn’t sync. We assumed everybody else was having the same problems as us, but nobody was solving them. We were right.” A Film Convert alpha version is being used by a few select people and the feedback is positive. “We’re trying to determine a price point at the moment and just deciding where to go from here. We’ll also do a Windows version to cater to PC people. For the medium sized project and/or budget we are ideal.” Kimberley Attewell of Photo Higher has developed a product out of his love for hobby aircraft. “I started flying remote control helicopters as a hobby in 2002,” says Attewell. “Like all aircraft they do crash and are expensive to repair. So I decided to design a custom camera mount [gimbal] that I could use to take aerial photographs to earn some money and subsidise the hobby.” Attewell initially targeted real estate agents and then looked at manufacturing the gimbals. “I looked at other manufacturers and I could see that I could design something a lot better than them. And so we started designing and manufacturing gimbals.” Photo Higher’s gimbals are now sold all around the world and in high demand. “They work well and allow people to get very smooth HD video/film. Over time we have created a well-known brand name in the market place, known for its high quality.” The company successfully applied through Grow Wellington for a Tech NZ research and development grant, for the Icarus 2S Industrial fully autonomous helicopter. “This machine can carry a 2kg payload for three to four hours and has a range of 60km.
Craig Herring, Rubber Monkey Software.
We are now in the final stages of development and are planning to test fly this in the next couple of weeks. “This is a very exciting time for us as we are in such a high growth period,” says Attewell. “Last year we turned over $125k and from November 2010 to March 2011 we turned over $450k. At the moment our sales are consistent and increasing, and we are turning over $100-120k per month. We are moving into new premises at the end of this month, which is going to give us a lot more space and allow us to continue to expand as we have new products in development all the time.” Despite the enthusiasm and passion, there can be issues with technicians running businesses. The challenges of planning, seeking advice, ensuring there is a market for the product, and access to business support are all hugely relevant but are difficult to initiate when you’re starting out. It takes planning and experience, and assembling the right people. “We are operating in an area not a lot of people have ever encountered,” says Attewell, “which has been very difficult for us. Even today it is a big battle trying to get people to stop thinking these machine are toys.” While there are large projects happening, there is still a reasonable income to be made from project-based work in NZ, so are technicians able to do both? And why would they? “When Avatar ended,” Marino recalls, “I thought a lot more about what I wanted to do for myself. And I also thought it would be about another three years before a movie like that came along so I would have some time to do this in between. If it doesn’t work then there will be another interesting movie and I’ll get to work on it! “We learnt a lot about our market, our customers and what it is we want to do,” he says. “Now we have a very clear understanding of how to go about doing that. We’re not just ‘tinkering in the garage’ any longer.”
The Hil Cook Solution Bud. Photo supplied.
“You have to be in for the long run,” says Attewell, “and there are a lot of people around the Wellington region who can help get your idea off the ground. It is really important to put together a detailed business plan so you know what is required. It is no use just to say you have an amazing idea. Your ideas will be a lot more visible if you can demonstrate that they have potential and work.” It seems screen technicians are more than up to the task. Recent statistics show that 80% of New Zealand’s screen production work force are employed as contractors, managing their own taxes, GST, accounts and any requisite staff. That’s half the battle won in terms of enabling technicians to think in business terms. It also means they have more flexibility to develop the IP they create. “Like it or not,” says Marino, “every film tech in NZ is now an entrepreneur operating a small business. Those who embrace that reality and act accordingly by diversifying and soliciting new business will be better off in the end.” • Nicci Lock and Delia Shanly of Film Wellington work as part of the Grow Wellington team – the Wellington region’s economic development agency. Grow Wellington connects people and businesses with the tools, investment and knowledge they need to fulfil their potential. Their services are free and confidential. Find out more at www.growwellington.co.nz
www.onfilm.co.nz
JULY 2011
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Get out and shoot By Peter Parnham Anyone can shoot on digital media, but true digital film makers are willing to adapt and meet any challenge. Peter Parnham meets Logan McMillan, a promising film maker whose résumé includes zombies, a spaghetti western, an interactive commercial and the February Christchurch earthquake.
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n 22 February, 2011, at 12:52pm, Logan McMillan hefted his tripod and left it behind. He needed both hands free to climb down six floors of a cracked stairwell that was filled with water and debris. Less than a minute earlier he feared for his life as the building that housed his top floor apartment in the heart of the Christchurch CBD threatened to collapse during the violent earthquake. It wasn’t an unfounded fear. Many buildings did collapse during the quake and its many aftershocks. “Once it finished I just kicked into gear,” says McMillan. “I knew I needed my video camera, my stills camera and my laptop. “I waited a bit because I didn’t want to be caught in the stairwell
Logan McMillan.
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during the aftershocks. I had a look around; I knew I wouldn’t be able to get back into the building once I left. My tripod was in my hands but I knew I would need both hands free. So I dropped it and now it has gone,” he shrugs. McMillan captured some of the first video footage and still photos of the disaster. “I got all these photos and put them up on Flickr [Flickr.com]. The AFP news agency bought them, then the Daily Mirror commissioned me to do another four days of photo shooting. “I needed that because all my stuff just disappeared. I lost my truck, all my clothing – everything like that is gone.” One reason for McMillan’s focused reaction was the “rehearsal”
given Christchurch last year when an earlier earthquake caused building and infrastructure damage, but no loss of life. “Last time – the earthquake on 4 September last year – I didn’t have a camera with me and I had to drive all the way out of town to a mate’s place and pick up his one, then come back in to town before I got any shots. I always keep gear in my bag now because I don’t want to get caught out again and miss opportunities to get shots.” McMillan isn’t talking about just keeping an iPhone handy, although he has one with a busted touch screen that still goes despite a spider web of cracks across the glass. He is talking about a Panasonic Lumix GF1, a still camera with a
Left: Destruction caused by the February quake in Christchurch. Below: McMillan’s interactive online TVC for Hell Pizza, Deliver Me To Hell.
I always keep gear in my bag now because I don’t want to get caught out again and miss opportunities to get shots. Micro 4/3 inch sized sensor – a size approaching 35mm motion picture film. “The body design has a very cool retro feel to it, and it works for my purposes – it is like a compact point and shoot camera with an awesome lens, full manual controls and great quality.” The same lenses double for his Panasonic AF102 video camera which also sports a Micro 4/3 inch sensor. The camera was part of a prize of $20k of Panasonic products that McMillan picked up for best cinematography in the Christchurch leg of the 2010 V48hours film making contest. His film Death in the West shows just what can be achieved in 48 hours with next to nothing but a guy and a Canon DSLR. The directing, writing and technical credits are especially short: McMillan himself. “When you are doing no budget stuff and small projects out of Christchurch you need to be able to have a hand in everything,” he says. “On lots of projects I’ve done everything, I’ve been the only crew. “If you do a lot of it, it’s not a chal-
lenge at all. If you keep doing it, when you go into bigger productions and bigger crew you know how everything operates,” he says. “My philosophy is always to just keep making stuff and you will get better and better with that experience.” Now 30 years old, McMillan didn’t start with video until he was 21, proving you don’t have to give up if you didn’t film your family when you were a kid. “My plan was to be making money in my 30s, so in a way I’ve just started to turn the corner a little bit,” he says. “It’s been good to be able to do it full time because I’ve been living on pretty much nothing for the last nine years. “You have to make choices about what you want to do, and I want to get into feature films,” he says. From 2006 through 2008 he shot his first feature, a zombie comedy called The Last of the Living. “I shot it for $10k initially. It was picked up by a US company for DVD worldwide and has done pretty well in sales. “I shot half the film and ran out of money, so I cut a trailer so it looked
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JUly 2011
15
Sony PMW-F3 and Canon 7D camera kits from Cameraworks.
Small cameras, large sensors. DP Michael Zahn examines a Canon 5D MKII and Sony FS100.
Can’t stop the revolution By Peter Parnham
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igital cinematography took a while to be accepted by feature film makers used to 35mm motion picture film. But today, even relative newcomer RED sits up there with the aristocracy of production cameras used for cinema and highend television drama. It’s been an aristocracy because only expensive 35mm film cameras, and digital cameras with the same size sensors, could get the cinematic look with a shallow depth of field that puts the background out of focus. The effect can be manipulated to emphasise the subject with clarity and separation from their surroundings. It happens to be a rule of optical physics that a larger sensor or film frame built into a camera gives you that creative option. It’s not practical to add it in post-production. But in March last year a street level revolution was sparked by the release of a firmware upgrade for a digital single lens reflex (DSLR) camera. If you owned a Canon 5D MKII camera that little download transformed your 21.1 megapixel top end DSLR camera into a video camera, with a large sensor. At a stroke, Canon had made a camera that would produce a big screen drama look – if you aren’t too worried about the technical quality of the picture, the fiddly cables and awkward monitor setups, no viewfinder, consumer grade audio, and as long as the lighting doesn’t push the camera too far. And suddenly for the price of, say, a grunty laptop, that look was within range of pretty much any cash-strapped production. In spite of the widespread excitement and adoption of the cameras they have not seriously challenged the feature film camera ruling class because the quality is not good enough to be accepted for HD acquisition by major television networks, let alone cinema production, except for use as motorbike-cams, horse-cams and the like. Meanwhile television programme shooters tend to stick with more traditional smaller sensor cameras. That’s because for your average garden show keeping all the unscripted talent in focus within a shallow depth of field would be a nightmare for
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the most experienced focus puller – who would be an extra member of crew you might ill afford. None of that has stopped the Canon 5D MKII popping up everywhere in the hands of digital film makers, and it remains one of the best stills cameras around. Adam Custins, owner of Kingsize Studios in Auckland’s Ponsonby, says the Canon has had a big impact on the still photography industry, the sector where his studio and camera hire company started. “When the Canon 5D MKII arrived on the market we quickly recognised what was going to happen and we put the whole company through an informal film school,” he says. “We brought together a small group of photographers who were interested in specialising in a hybrid [photography and video] scenario. Now those guys are earning 50 percent of their income from motion work.” His range of Canon DSLR hybrid cameras is also used on all sorts of motion picture jobs. “It can be multinational television commercials, short films, features – the whole lot.” Custins sees new large sensor camera offerings from video camera heavyweights Panasonic and Sony as fitting into the new style of shooting that has developed. “It is the small camera package movement. This is where it is going, and we aim to support that, because motion work is not only being done by traditional crews anymore.” He thinks the DSLR cameras are here to stay even as the new models of video camera hit the market. Chris Hiles, a partner in Wellington camera hire company Cameraworks agrees, saying that from the rental point of view, a newly purchased Sony PWM-F3 is not about to replace their DSLRs. “I thought the DSLR market was going to crash and burn, but now I think it might hang around just for the fact that so many people like producers and DPs have bought them,” he says. “You can bung a lens on the front and still shoot some pretty good pictures without any accessories. I think they are still definitely going to have a place.”
like it was a finished film. I put it up on YouTube and it got a lot a lot of attention, and a company approached me and bought the rights with a presales advance so I could finish it.” He says the movie was shot on a Canon XL H1 with a home-made 35mm lens adaptor. The camera has a small 1/3 inch sensor that gives it a big depth of field, making it almost impossible to shoot a subject with the background out of focus, a key element in achieving a big screen 35mm look. These days you can pick up a professional 35mm lens adaptor made by a company like Letus for a few thousand US dollars. This type of adaptor fits on the front of the camera and allows lenses from a 35mm film camera to fit. The lenses project their image onto a small rotating frosted screen, a bit like a back projection unit. The video camera re-photographs the image from the screen. This means you can put 35mm lenses on a small sensor camera and achieve the shallow depth of field look, albeit with a quality trade off. But McMillan didn’t have the luxury of that choice at the time. “No one in New Zealand knew anything about 35mm lens adaptors, so I did a lot of research and made my own one, which was a big box that you put lenses on the front of.” Instead of the small rotating screen, McMillan used a CD motor spinning a clear CD with Mylar on it. “It had a bit of a wobble, it was a really hodge podge thing, but my
Death in the West.
mate has got a lathe and he made a really good one which is just as good as any of the bought ones, so we shot on that and it looks alright.” McMillan has plans for a sequel to The Last of the Living, gaining more confidence in the market for it from his experience with Deliver Me to Hell, a highly successful interactive YouTube commercial short film for the Hell Pizza chain. “In the second week after going
live Deliver Me to Hell was in the top five virals worldwide and it has had millions of views. It was quite exciting watching the numbers climb every day,” says McMillan. In the interactive commercial film, which is still on YouTube and still drawing hits, an attractive woman ends up stranded on top of a shipping container surrounded by zombies who are trying to attack her. It is hungry work fending them off so she
phones for a pizza. Initially reluctant, the Hell Pizza delivery courier realises he must get the delivery through, but faces a number of choices along the way – choices that the viewer is asked to make on his behalf. According to the choices selected, the film plot branches off and the woman’s hunger will eventually be satiated or she will be left forever peckish and stranded. “That project had 25 minutes of interactive content,” says McMillan, “now if we made a 90-minute film that had a basic story, a bit of fun and a few explosions we could churn it out pretty quickly and that would sell really well in the straight to DVD market.” When he does make that film, it won’t be from Christchurch, because
McMillan is leaving for Auckland, where we met after a potential job meeting. It is not completely due to the quakes, it’s a move he was contemplating anyway. “I will definitely be shooting stuff back in Christchurch,” he says, in case we think he is disloyal. At least the cost of moving his stuff will be cheap; all he has fits in one bag, which he opens, demonstrating his readiness. “Right now I have a good enough camera to get some high quality photos,” he says, scanning the Auckland water front for an impending disaster. • Parts of this story first appeared on crews. tv. To see some of Logan McMillan’s work go to Youtube.com/user/LoganGorilla
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More Alexa action for Queenstown
Digital Love Story The Canon 5D is belle of the ball for director Florian Habicht.
The Arri Alexa is more than just a camera, says Queenstown Camera.
Raj Patel, 2nd AC, checks the lens on an Arri Alexa camera.
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lways keen to provide the most up to date hire equipment, Queenstown Camera Company has purchased four Arri Alexas in the last year. “We have an on-going purchasing programme to ensure the camera systems and lens list is always state of the art,” says Brett Mills, “and as a result, this year we acquired four Arri Alexas: three Alexas and one Alexa Plus.” More than just digital cameras, the Arri-designed and built camera systems accommodate a wide range of upgrades, extensions and accessories. “In our view they are the best digital cameras available on the market,” says Mills. “We previously purchased our Arri cameras and accessories through dealers,” says Mills’ business partner Ian Turtill, “but since dealing directly with Arri Australia and Stefan Sedlmeier we haven’t looked back. There are many big plus points in dealing with Stefan and his team, most notably their amazing service, support and technical knowledge, all of which help us keep our camera systems up to date and in the best possible condition. Stefan recently came over to give us some hands-on Alexa training, which proved invaluable.” “We do have to spend time number crunching and forecasting,” says Arri Australia gm Sedlmeier, “we’re a corporate subsidiary after all. But we’re also very hands-on, we really know how to use the equipment, how to explain it.” Queenstown Camera also uses their Alexas on internationally recognised helicopter mounts such as the Stab C, Libra and Continental Side mount for aerial shoots, working with local Queenstown helicopter companies to achieve the best possible results. “One of our aims,” says Turtill, “was to provide a camera rental house which catered to every need. Nearly 90% of the commercials made in Queenstown are dominated by overseas productions, many of whom are looking for aerial shots. You’ll also often see them rigged onto a Squirrel helicopter’s nose or side mounts flying around Queenstown and the Fiordland mountains.” “The Queenstown Camera Company consists of a talented team who started with a solitary Arriflex 435 Advanced camera,” says Sedlmeier, “I’m delighted their business is going from strength to strength.”
Florian Habicht’s Love Story.
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sk Florian Habicht, director of Kaikohe Demolition and Woodenhead, whether a blockbuster can be shot on the Canon 5D Mark II and he answers, “Definitely.” Most of his latest film, Love Story, was filmed on the game-changing DSLR camera. His playful, sometimes dreamlike documentary is set in New York City, and it premiered this month on the big screen at the opening gala of the NZ International Film Festival in Auckland. Habicht says he prefers the 5D look over that of a Red camera. “For me, the Red camera has too much detail unless it’s been treated on a Flame or given a film grain or treatment. The Canon has a really good balance about it. People like George Lucas have been using them as second cameras. “At art school (Elam School of Fine Arts) I made short films first,” says Habicht, “they were shot on Super 8 and 16mm. Sometimes I processed the film myself, or I had to climb into a cupboard during the shoot 10 times to change the film canister on a Bolex. And winding it up, sometimes you’d forget to wind and it would stop in the middle of a take. “In my heart I love the feeling of film, the warmth; it’s definitely a magical kind of feeling. But really soon, I wanted to jump into making features. I probably jumped the gun a bit. Maybe I should have made more short films first. But even at art school I made two features and the only way I could afford it was on video.” He got used to digital because it was affordable. “Rubbings from a Live Man was transferred to 35mm but it was still shot digitally. Most of my films are Creative NZ funded. With that you get total freedom, but your budget is too small, you have to shoot on digital.” Habicht filmed the documentary footage for Love Story on a Canon HF10, and the dramatic scenes were filmed on a Canon 5D by ex-pat DOP Maria Ines Manchego. “Most of the film is the 5D,” says Habicht. “In the film, people on the street give me ideas of what happens next in the love story, and that dictates what happens in the film. I shot all that, and when the actress Masha [Yakovenko] and I acted out the love story, Maria Ines shot that on the Canon 5D. She’s amazing by the way; most of it was lit with minimal lighting or natural light.” Shooting digitally allows the freedom, says Habicht, of not having to worry about running out of film. “If I only had a certain number of minutes every day to shoot it would be good for discipline, but for me, I’d lose a few hours’ sleep knowing that.”
Cameraworks is fast becoming the ‘go-to’ camera dealer in the lower North Island. To find out why, visit our website
www.cameraworks.co.nz and book your next job with us. rentals@cameraworks.co.nz 0800 CAMWORKS (2269 6757)
DOP Equipment Rentals
Wellington to wherever we ship nationwide
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JULY 2011
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Data wrangling – getting up to muster The role of data wrangler is vital and here to stay, says Nigel Burton, so who’s handling your master files?
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ack in the day, the loader loaded film, the camera assistant pulled focus and the video assist person was the camera department trainee who set up the monitors to view the SD feed from the video tap on the film camera. But computers drifted onto the set, replacing tape recorders and 20kg playback decks. The work of the video assist grew past that of the camera trainee into a role all its own, away from the camera department. Enter the professional HD cinema camera. Names like Viper and Panasonic’s VariCam were in use a few years ago but are less often seen on set today. These 1080 HD cinema cameras had their own recording decks and often came with a technician who knew how to run the cameras and fix them on the spot. In 2007 the Red One camera changed the game forever, making the first 4K production and more than doubling the 1920x1080 of full HD. They were very affordable, and when they first entered the marketplace, a specialist Red tech would set the camera up and back up the Red hard drives. As the role of the Red technician died away, the data wrangling was left to the new data wrangler, an entry level position in the film industry –
Andrew Roelants from Metro Film, flanked by William Skelton and Nigel Burton from Digital Video Assist NZ.
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The responsibility of this role is huge, as the data is the master negative of the production. and sometimes to the loader, whose main job is dealing with lens changes and camera sheets, not computers. It soon became clear that the camera trainee/video assist would take on the new role and thus was born the “data wrangler” – someone employed to manage the data and back up the footage. At this stage they were still called video assist, but the title soon became digital video assist and then HD video assist operator. Some have taken to the digital age well, accepting data wrangling as another necessary skill. But data wrangling isn’t just “drag and drop”. It’s the gathering of data and management of the data assets. The responsibility of this role is huge, as the data is the master negative of the production. Extreme care must be taken when files are copied and the assets managed. In the US there are set union rules regarding data wranglers. They must be part of the camera operators’ union (International Cinematographers Guild). The video assist union is another union altogether. This stops the data wrangler, also known as a “digital imaging technician” or DIT, from playing back recorded footage. In NZ, the role of DIT and data wrangler is not taken as seriously as it could be. I have continued doing HD
video assist as well as data wrangling, mainly on Alexa, Red and Canon 5D and 7D jobs. I have just finished working on a TVC shoot that used a Red Epic camera – there are 30 Epic cameras being used on The Hobbit production at the moment. After three days of filming the TVC, we have recorded over 1000GB of data and copied that three times for backups. A job like this, which also required DNX QuickTime 1080 files, needs a dedicated DIT as well as a video assist operator. HD master footage is often transcoded these days. That’s the process of taking one video format and using computer hardware, making a file format that suits offline editorial, often with a lookup table (LUT) applied. This process can be done onset and saves a lot of time in post-production as well as streamlining resources and saving money. Arri’s new HD camera, the Alexa, is one of the newer breed of digital film production cameras. Metro film and Queenstown Camera Company both own several of these cameras (Panavision in Auckland are the agent for Queenstown Camera). Metro Film has developed the camera systems for these themselves, along with three Red cameras.
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Red Epic on set in Auckland.
The back end of working onset with the Alexa camera has been a lot smoother than the way it was with Red and now with Epic, Red’s new 5K sibling. To start with, Alexa records 1920x1080 pixels, so there is less data to deal with. Cards slot into MacBook Pro 17” laptops and quickly copy to drives. This all sounds simple, but fast drives and fast connections help too. What we recommend for all HD data backup is 7200rpm or faster
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drives of 1-1.5TB in size or larger, with two Firewire 800 ports and an eSATA port. These requirements ensure greater reliability and speed of backups onset and into post. Cover yourself by making three copies, not including the camera hard drives. These should be made prior to leaving the set. Since the Alexa came out, some video assist operators have created systems to allow us to provide a video assist service, a data backup service
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and a transcoding service. That is about as far as one organised person can take the combined roles of DIT, data wrangler and video assist operator without putting the production at risk. People will try this on heavy VFX shoots with 100fps shots – but if anything needs attention, there is just one person to do all the jobs and sort out the problem. The combined roles are not a first in the film industry. There are combo grip/gaffers that come to mind. This can work fine, but when they want you to bring out a track and a crane and an 18K, it can quickly become too much. Over the last three years we have heard reports of some bad results from data mismanagement. The fact is, you hire your cameras from camera houses that maintain the cameras well and deliver to post houses that develop ways to deal with the new HD formats, but there’s still a grey area in the middle. As digital video assist operators, we have been dealing with managing digital data for a long time. It puts us in a great place to understand how this works best and how hardware can be best used to make the job more reliable, more efficient and less susceptible to human error. We deal with video assist, data triplication, offline file creation and dailies, all by the end of the day and all from
under a leaking ezyup tent, powered by a generator. There are more digital cameras coming out each year as well as improved monitoring, playback recorders and faster data backup systems. We are all on a learning curve, with no plateau in sight. So the role of data wrangler and DIT is here to stay, as are HD camera systems. New cameras, camera software upgrades, new software and software upgrades can all change the end results. There are so many variables, from what format and ASA the camera is shooting at, to what systems are being used in post, to whether the director or DOP expects daily rushes, as well as the editor offline files, at the end of the day. Each camera system has a different process and there’s always more than one way to do the job. From Red to the Arri Alexa, from Canon 5D to Phantom, they all have different recording systems, different recording codecs, different colour spaces and different options to suit what post process is chosen. It’s vital that your data wrangler knows how to solve problems as they arise and has a clear understanding of the entire process, from capture to post. • Nigel Burton runs Digital Video Assist New Zealand (www.dvanz.co.nz), specialising in video assist and data management.
Film review: Russian Snark Feature NZ 2010, prod co Godzone Snark Productions prod Liz DiFiore dir Stephen Sinclair DP Steve Latty screenplay Stephen Sinclair ed Wayne Cook, Paul Maxwell sound Ande Shurr music David Long, Stephen Gallagher cast Elena Stejko, Stephen Papps, Stephanie Tauevihi, Peter Rowley, Gary Volk, Greg Johnson, Rene Naufahu, Te Waimarie Kessell, Ethan Tauevihi website www.russiansnark.com, 80 minutes DigiBeta.
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aving worked as a successful filmmaker in his native Russia, but disillusioned because post-glasnost “art of Soviet is dead”, Latvian Misha (Stephen Papps) comes to New Zealand with his muse, beautiful dancer wife Nadia (Elena Stejko), hoping to make a name for himself with great experimental work focusing on the human form. In broken English he intones his homilies, “art is way of seeing”, “art is gift and curse”, “narrative is for children”, against a sea of black and white nudes, Nadia included, he has posed on rocks in the manner of early avant garde films. Misha is self-obsessed, obsessivecompulsive, pretentious and ignorant
(“New Zealand not conveyed in New Zealand art”). Increasingly exasperated with his refusal to engage with the realities of immigration, Nadia goes about the more pragmatic business of finding ways to put food on the table. After finding work as a stripper and some dodgy companions she leaves Misha to his raving. Solace found in the company of a farmyard of free range Brown Shavers (“the chicken creates perfection”) and the down-to-earth ministrations of a big hearted neighbour (Stephanie Tauevihi) help the unravelled Misha to knit himself back together. Smiling, clear-eyed, all obsession gone, he now has a new homily, “Is better to be good man than great artist.” Stephen Sinclair began with the idea of writing a feature film script for Stephen Papps and Russian-born Elena Stejko. One starting point was a news story about a Vladivostok couple who floated to New Zealand in a converted life boat; the other was his frustration with “the self-obsession and ego mania in the artist.” Hitting the right notes in a broad comedy is always
Stephen Papps in Russian Snark.
a challenge, and while Papps appears for all the world like his Firpo (The End of the Golden Weather) with a Russian accent, in spite of his committed performance, for most of the film the audience is invited to laugh at him. And as the central character he’s required to do so little that when he acts out a Piano sight gag and robs a local store, the whimsy isn’t credible. That has to be weighed against some lovely notes – Elena Stejko dancing, clever use of the Russian
doll motif and a cute nod to fairytale in the redemptive happy ending. While the narrative is thin, the performances are strong, the production values excellent (particularly the music and design) and the use of the Auckland locations very fresh.
– Reviewed by Helen Martin
• Further reading: OnFilm article To Russia With Love by Liz Difiore, July 2010 OnFilm article The Russians Are Coming, June 2011
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Bonus benefit speeds production Underbelly New Zealand (The Land of the Long Green Cloud) Photo: Florence Noble, supplied by Screentime NZ.
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ou could spend all day staring at the specification sheet of the new Sony PMW-F3 camcorder and still miss one of the key benefits because it is not listed there. The highlight of the specifications is the big Exmor Super 35mm CMOS image sensor that give pictures from the camera a big screen, shallow depth of field look. Until now PMW-F3 sensors like this used to be the preserve of high cost studio-size cameras. But according to cinematographer Tom Burstyn NZCS CSC FRSA, while the sensor size and latitude – the ability to shoot high contrast pictures – is a big deal, the camera offers another tremendous advantage that he exploited in full while recently shooting Underbelly New Zealand (The Land of the Long Green Cloud). It’s fast. He says compact size and nononsense usability and dependability means using the PMW-F3, the shoot can move rapidly in a way not possible with alternative cameras, some of which are more computer than camera. What’s more, he says, you won’t be delayed by camera glitches. “The Sony F3 just went and went and went,” he says. “It never crashed – it doesn’t crash because it’s not a 24
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computer. It’s a camera, you just turn it on and shoot.” Burstyn and his two camera unit were tasked with shooting 50 or more setups a day in a tight six-episode, seven-week schedule, and the PMWF3 cameras provided a way to get the right dramatic look and complete the job on time. The production mirrors the Australian Underbelly crime mini-series and centres on the notorious Mr Asia drug ring, prominent in New Zealand’s underworld during the 1970s. For Burstyn the 1970s period and style demanded a rough look with a lot of colour, and led him to scour the United States for a good set of vintage Nikkor still camera lenses from the same era. “They are beautiful – really nice glass. I think that provided a signature look to the piece,” he says. The Sony PMW-F3 sports a PL cine lens mount, matched to the Exmor Super 35mm sensor, and suited to most 35mm cine style lenses. On this show, the Nikkor lenses were adapted with PL mounts and follow focus gears for film style focus pulling. For Burstyn, the combination of fast lenses, the Super 35mm sensor
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and the ISO 800 sensitivity of the PMW-F3 also helped keep up the pace of shooting. “It saves us on lighting and gives us that shallow depth of field. We shot car interiors on the motorway at night with nothing – a hand held with no lighting, just the light of the passing street lights. With this camera you can work in the shadows and the image is still punchy.” He says there was no time to tweak the image setting on set. “I use the camera to collect the image information, I put my signature on the look with the lighting and the lighting ratio; everything else was done in post,” he says. “I had one camera setup for the entire show. There are four gamma curves in the camera and Cine-1 seemed the most efficient. I also turned off the detail setting because we can always add that in post production.” As a fully fledged drama, produced in a market the size of New Zealand, the production was bound to be very budget conscious while at the same time looking for ways to get the best looking images on the screen. It is a familiar theme in bigger markets around the world as well. For productions shooting for the
big screen, or where broadcasters have more demanding technical requirements, using a third party compact off-board recorder is an option. The right units can record higher quality pictures in addition to the internal recording on the camera and offer the potential for the PMW-F3’s images to challenge much higher priced 35mm sensor studio cameras. The PMW-F3 camera and Angenieux Optimo Rouge zoom lenses for Underbelly were provided by Nutshell Rentals along with Burstyn’s own PMW-F3 and Nikkor lenses. Nutshell Rentals founder Paul Richards, along with Burstyn, says they have recently viewed tests of a firmware upgrade for the PWM-F3 which allows the camera to output 10bit 4:4:4 to an external recorder. Utilising the revolutionary new optional Sony S-log gamma curve to stretch the latitude, the test results are spectacular, says Richards. “I think we will get over 11 stops of latitude, and the quality of the images goes to the next level. It just confirms it for me… this camera is a game changer.”
– published by arrangement with Sony NZ
Acrossthe Ditch Our expat spy provides his idiosyncratic take on the Aussie film and television industry.
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am all too often irked when I hear arts bureaucrats referring proprietorially to by JAMES BONDI “our” film, “our” exhibition, or “our” theatre company. Producers, directors, writers, actors, crew and even private financiers can justifiably say “our” film, when they have had some personal creative input or financial risk (I draw the line at “my” film but that’s another story...) but it is absurdly arrogant for a public servant to claim ownership on the basis of allocating taxpayers’ lolly to the project. And let’s not even start on the value of their creative contributions through script assessments. That sense of ownership of public dosh was taken to extremes recently when Film Victoria lavished more than A$45,000 of taxpayer money on a farewell bash for outgoing ceo Sandra Sdraulig. Imagine the outrage amongst struggling Victorian film makers when they were told that money allocated to assist them in fulfilling their creative dreams was instead spent on invitations ($2394); postage and stamps for same ($1485); food and beverages ($29,245); flowers ($730); a guestbook and toiletries ($230), and, to cap it all, a 10minute tribute DVD costing $10,601. This opus was shown once at the bash and is now, presumably, available for Sandra Sdraulig’s use in the entertainment of dinner party guests, or perhaps for the edification of small children. It may have another market niche, but it’s hard to see many sales out there. At $160 per head one hopes the 280 invited guests had a great knees-up. Unfortunately for Film Victoria’s future funding allocation expectations, the crowd did not include even one member of the current Coalition State Government, as none were invited. Not from the Arts
Ministry, nor the Finance Ministry, not even the Treasurer’s Office. Nobody. Nada. Zilch. However, members of the previous Labor Government were there merrily quaffing and nibbling, feigning interest while bureaucrats talked about “their” films. State government minister Louise Asher described the farewell bash as “an outrageous and sinful waste of money”. Acting ceo Jenni Tosi, in an open letter to Victorian practitioners, without actually mentioning the war, said, “As many of you will be aware, this has been an interesting week for Film Victoria. We acknowledge that the news has caused some concern and comment in the community and in the industry. For this we want to say sorry.” I should think so. ***
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n a cold winter’s night actors, producers, writers and directors rubbed cold shoulders at Sydney venue Ivy Penthouse for the inaugural MEAA/Equity Ensemble TV Cast Awards, peer voted by Australian actors. The Penthouse, part of a yuppie playground of restaurants and bars in the CBD, would be a great location for a porn movie with its exposed bathroom and crowd-sized spa bath, shower, and toilet stall with translucent glass. No need to wonder what goes on behind closed doors, because there ain’t any doors. While the event was well attended, many more would have turned up had it not been scheduled on the same night as a crucial State of Origin league match. What were they thinking? The throng dwindled as more slipped away to catch the remainder of the game and watch the NSW Blues finally snatch a victory from the Queensland Cane Toads. The Ensemble Drama Award went to the cast of ABC/Essential Media drama Rake, which follows the exploits of dissolute, dysfunctional
lawyer Cleaver Greene, who wouldn’t have looked at all out of place in the Ivy Penthouse, and I could see writer/producer/director Peter Duncan giving the place the onceover with a location manager’s eye. Kiwis involved in the series included one of its directors, Jessica Hobbs, and actors, Danielle Cormack, Robyn Malcolm, Jane FullertonSmith, Sam Neill and Roy Billing. The Librarians, another ABC show, took out the Ensemble Cast Award for best comedy series. Created by husband and wife team Robyn Butler and Wayne Hope, who also play lead roles, the series is a hit with ABC audiences and is about to start shooting its fourth series. NZ director and comedian Tony Martin appeared in the series as well as directing some episodes. Good to see these Aussies still can’t do it without input from across the ditch. ***
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ay TV Channel Showcase screened a stunning adaptation of Cloudstreet, Australia’s favourite novel by Tim Winton (also one of the screenwriters) over three consecutive Sundays. The June launch marked the 20th anniversary of Winton’s literary classic, which has been translated into 12 languages. A six-hour long (no, that’s not a typo) stage adaptation enchanted audiences throughout Australia and toured Europe, the UK and the USA. The mini-series, from Des Monaghan’s Screentime, was directed by Matthew Saville. It garnered critical acclaim, pulled in good ratings, and featured some outstanding performances (making it a sitter for finalist status in next year’s Equity Ensemble Awards), not the least from Kiwi actress Kerry Fox as godfearing eccentric Oriel Lamb. The DVD, which should be another good earner for Screentime, is in release and well worth a look.
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opular, successful, and therefore wealthy, (we’re not talking NZ actors here!), Oscar-winning actress Cate Blanchett drew down the full fury of the Murdoch press and redneck shock jocks when she fronted a TV commercial supporting the Government’s proposed new carbon tax, “artfully clad” in jeans, no less! “Carbon Cate” was branded an overpaid, over-privileged, “morally vain” rich bitch who had no contact with reality and was supporting a tax that would send battling Australian families on to the streets, begging for food and sewing sacks together for clothing. However, it was perfectly acceptable to the rabid Rottweilers of the right wing media that billionaire miners like Gina Rinehart and Andrew “Twiggy” Forrest vociferously opposed the tax on the grounds that it will send them into the poorhouse. There was much ranting about Cate’s travels, the fact she has property on the shores of Vanuatu, her ownership of a Sydney mansion (albeit solar powered with rainwater tanks), and her supposedly huge carbon footprint, but not one word on the jet-setting exploits of Ms Rinehart or Mr Forrest. One would think they never set their carbon feet out of Western Australia. Nor was there a word about how Cate and husband Andrew Upton, joint Artistic Directors of the Sydney Theatre Company, have installed solar power units and rainwater tanks on the STC’s sizeable Walsh Bay premises. At least they’re trying to do something. As any person with a modicum of grey matter can observe, just by noticing the weather patterns, climate change is for real and global warming is here to stay unless we do something about it. So I’m all for Carbon Cate in her arty jeans and dainty footprints, and I’m sure Twiggy Forrest in his hard hat and thumping great mining boots will somehow manage to survive if his company has to pay a few more dollars in tax.
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w e i v l a g A le The Hangover: Part II – Clear your copyrights! Not obtaining the rights to all copyright elements used in a production can have potentially dire consequences, as David McLaughlin explains.
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he Hangover: Part II recently had the highest grossing opening of any R-rated film in history. However, at the last minute, the entire release of the film was put in jeopardy due to a copyright dispute over a single tattoo included on the face of one of the actors in the film. As we’ve previously discussed in these articles, making sure you obtain specific written permission from the owner of any material you’re including in your production, or basing your production on, is essential.
production, you could also be prevented from releasing your film. To avoid these kinds of nightmare scenarios you need to focus on clearing any copyright material used in your production. Even the unauthorised use of trade marks (eg brand names or logos) can cause you problems. The simple reason for needing to obtain all these clearances is that copyright and trade mark law (subject to a few ‘fair use’ exceptions) provide the owner of the applicable rights with the exclusive right to use or, at their sole discretion, to authorise others
You also face the likelihood of being sued by the owner of any un-cleared material, to the extent that you will not only lose a slice of profit from your production, you could also be prevented from releasing your film. Without establishing a clear chain of title authorising your use of all of these materials, you won’t be in a position to provide the warranties and meet other legal obligations that a financier, distributor or broadcaster will require of you. However, as Warner Bros recently found out in relation to the Hangover: Part II, you also face the likelihood of being sued by the owner of any un-cleared material, to the extent that you will not only lose a slice of profit from your
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to use, the copyright or trade marks in question. So what went so badly wrong for Warner Bros with The Hangover: Part II? Essentially it was a case of just failing to clear one particular copyright used in the film. The copyright in question was a tattoo originally created by S Victor Whitmill for Mike Tyson – although the extent that the tattoo was apparently based on traditional design elements from certain cultures does raise some questions as to the
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overall “originality” of Mr Whitmill’s design. Whitmill had a signed legal agreement with Mike Tyson, acknowledging Whitmill’s copyright ownership in the tattoo design. Warner Bros reproduced the design of the tattoo on the face of another actor in The Hangover: Part II (other than Mike Tyson) and the tattoo as used on that actor also featured prominently in advertising and promotional material used in the run up to the official release of the movie. Although the issue hasn’t been specifically addressed by the New Zealand courts as of yet, it is likely that under our copyright law, copyright would be found to exist in a tattoo as an “artwork”. It also pays to remember that there is an incredibly broad range of things that copyright exists in. So when looking at the copyright material you need to clear for your production you’re not just looking at the obvious things like any book or script you may have used to create your film. You’re also going to have to at least consider such things as songs playing on the radio in the background of any scene, artwork on the wall, pictures or designs on T-shirts and signs. And yes, potentially even tattoos. When Whitmill filed his initial claim with the courts to stop the planned release of the film, the courts decided that to stop the movie being released in the manner and on the timetable as originally planned would cause too much hardship for a number of innocent parties, such as the theatre owners, who had already allocated extensive screenings for the film, and invested heavily in publicity themselves. So although the court decided to let the film be released in its original form, the judge did make some not-so-veiled comments in handing down her decision, saying that many of the arguments Warner Bros raised in support of
their right to use the tattoo in the film, without Whitmill’s permission, were unconvincing. Consequently it looked likely that when the matter came to a full court case, Warner Bros would not have much chance of success. Perhaps unsurprisingly, Warner Bros and Whitmill have now reached a confidential settlement that will allow Warner Bros the right to continue to promote and release the film in its original form. Although we’ll never know the terms of the confidential settlement reached between the parties, you can be fairly sure that a portion of Warner’s future profits from exploitation of the film in all formats will be payable to Whitmill. This will no doubt be significantly more than what would have been paid to Whitmill if the rights to use the tattoo had willingly been negotiated between the parties before the film went into production. So the moral of this story is always make sure you investigate clearing all copyright, trade marks and any other rights owned by a third party that you wish to include, or reference in your film – as the hangover from failing to do this could be much greater than you ever bargained for. • 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).
Short cuts Continued from page 8
Twitch makes DVD switch The Production Shed’s Kaitangata Twitch is the latest NZ drama series to be marketed on DVD. Madman Entertainment will release the Margaret Mahy adaptation on August 11 with a high-profile campaign that will include Whitcoulls in-store signings in Auckland, Wellington and Christchurch. Although Yvonne Mackay filmed the 13 episodes in high definition, Maori TV aired the series in standard definition and Madman isn’t releasing it on Blu-ray – yet. “We always consider this,” Madman chief Wilf Robinson says, “but at this point, as is unfortunately the case for almost all New Zealand shows, the Blu-ray production costs are still prohibitive. “We would not rule out changing this decision as we get the DVD product into the market.” He expects Kaitangata Twitch, which last month added the Sir Julius Vogel Award 2011 for best dramatic presentation to its long list of trophies, to become Madman’s biggest-selling NZ family show on DVD (its last NZ release was Jaquie Brown Odyssey). “It’s a very high-quality production that deserves a much bigger audience than has been achieved so far. “The story is both extremely relevant to all New Zealanders, inspired by true events, and is magical at the same time.
“It succeeds in engaging broad audiences in terms of demographic, psychographic and ethnicity.” The Production Shed approached Madman to release the series on DVD, which will include a 25-minute making-of extra; in the meantime, Maori TV is re-running it 6.30pm Saturdays from July 16. More outrage from Roadshow Outrageous Fortune’s legacy also is being tested this month with Roadshow Entertainment’s release of Outrageous Fortune: Revealed, a “special edition souvenir DVD” with new interviews with the creators, producers, directors and star Robyn Malcolm as well as “special moments” from the six seasons, behind-the-scenes footage and the construction of the Outrageous Fortune exhibition. Demand high for Blu-ray Rings Roadshow reports exceptional interest in the Blu-ray extended editionsbox set of The Lord of the Rings trilogy – a spokeswoman says demand has been so high for the $140 title that more units have been requested for NZ ... One of the Roadshow executives who steered Rings’ theatrical campaign, Lisa Hubbard, has exited after 18 years, following a revamp of the company’s operations that now has home entertainment chief, John Davie, also overseeing theatrical distribution as general manager of the combined divisions, Roadshow NZ.
Kaitangata Twitch, out on DVD in August. Photo: supplied.
Outrageous Fortune: Revealed.
– Philip Wakefield
Kaitangata Twitch.
NZ film artists in brief – a series Colin Hodson
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Colin Hodson. Photo: Gabrielle McKone.
olin Hodson is an inter-disciplinary artist. Coming from a performance-based background in New York City, Hodson was an associate member of the Wooster Group, a theatre company whose members include William Dafoe, Steve Buscemi and the late Spalding Grey. He turned his interest in performance toward moving images after returning to New Zealand in 1995. Using film as a medium that can invoke a tactile and visceral approach, he aims to produce work which goes beyond the simple representation of a story. His first film, the improvised low-budget feature Shifter (2000) screened at the Vancouver Film Festival. This was followed by .OFF. (2002), a work exploring a romantic triangle within a community of drug users. Hodson later re-edited this as .ON. (2006). After deciding to make films using written scripts, he attended the writing and directing programmes at Amsterdam’s Binger Filmlab in 2005 and 2006. Back in New Zealand, he edited several episodes of Sensing Murder, and then spent a year writing in Victoria
University’s Creative Writing Programme. The project that emerged from the programme, Life on the Island, won the 2009 David Carson-Parker Embassy Trust Prize for best script. This project is currently in development, as is another of his feature film projects, String Through the Earth. The genesis of String Through the Earth was a video art installation of a tin-can conversation between performers located in volcanic zones in New Zealand and Iceland. Hodson is currently in post-production on the short Rider and also the darkly comic Maui, a satirical look at New Zealand’s rugby culture. His other projects include the recent controversial sculptural intervention in a downtown Wellington office block where he employed a data feed from the stock market to control the office’s lighting system. Hodson also has plans for another low-budget feature, taking the character from Shifter into more overtly political territory, where he is offered a job as a nark working in New Zealand’s burgeoning surveillance culture. – Martin Rumsby
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n Productio Listings How to get your production listed Because all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.
Film In PRODUCTION TELL TALE TIT
16mm Short prod co The Film School prod John Reid line prod Alison Langdon exec prod Tommy Honey dir Emma Painter 1AD/prod des Charlee Collins prod mgr Ness Simons prod runner Sarah West on set art dir/props Tala Suailua w/robe Johnny Peteru DP Kaylen Hadley cam op Michael Lindsay 1st cam asst Isla Borrell 2nd cam asst Malcolm Weekes vid splt Phoenix Jung cont Sebastian Hurrell gaffer Tom McCarthy b/boy Gulliver Greig key grip Tristan Maxwell snd mix Matthew Christophers boom op Joe Whitby m/up arts Tiffany Te Moananui making of Alastair Mckenzie loc mgr Katie Frost unit mgr Amber Cadaver caterers Blue Carrot Catering cast John Smyth, Anthony Young, Connor Moloney-Slattery, Vanessa Cullen, Acushla Tara-Sutton, Ella Frederica Hope-Higginson, Vivien Bell
THE OTHER SIDE OF LOVE
16mm Short prod co The Film School prod John Reid line prod Alison Langdon exec prod Tommy Honey dir Sebastian Hurrell 1AD Ness Simons prod mgr Katie Frost prod runner Pikihuia Little prod des/ on set art dir/props Charlee Collins w/robe Amber Cadaver DP Tristan Maxwell cam op Tala Suailua 1st cam asst Alastair Mckenzie 2nd cam asst Emma Painter vid splt Kaylen Hadley cont Phoenix Jung gaffer Isla Borrell b/boy Matthew Christophers key grip Gulliver Greig snd mix Malcolm Weekes boom op Tom McCarthy m/up arts Tiffany Te Moananui making of Sarah West loc mgr Michael Lindsay unit mgr Johnny Peteru caterers Blue Carrot Catering cast Emma Fenton, Alison Walls, Jamie McCaskill, Paul Mclaughlin, Craig Geenty, Ron Kerkmeester, Mickey Denham
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 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 ed Charlie Bleakley 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 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
BABY STEPS
Super16mm short NZFC prod co Tinopai Film writer/ dir Mark Ruka prods Fred Renata, Sheri O’Neill DP Fred
Renata prod mgr/1AD Rina Patel cam ops Ben Rowsell, Dominic Fryer snd rec Dick Reade stills/digi op Amarbir Singh art dir Adam Lynch m/up/hair Amy Collins prod asst Anna Henare cont Aimee Renata catering John & Marleina Ruka ed Stuart Page cam BeastEquip, Panavision lx Dennis Cullen lab fac FilmLab digi trans Toybox colourist Andrew Brown snd des Reade Audio cmpsr/ score Pauly Fuemana cast Tiki Taane, Amber Curreen, Santos Fuemana, Ethanuel Renata, Mark Ruka, Rina Patel, Sheri O’Neill, Angelo Fuemana, Caesar Fuemana, Eva Fuemana, Salvador Fuemana, Imogene Fuemana, Akoya Chant, Samari McCall
BILLY T JAMES: 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
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
DEVIL’S DOOR TO HEAVEN
16mm short prod co The Film School dir Lillian Beets writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Paul Jackson prod mgr Kathleen Collins prod asst Annalisa Ridley prod runner Nathaniel Hinde loc mgr Mark Jackson cam op Josh O’Brien f/puller Bonnie Low c/loader Pavel Kvatch vid asst Ben White grip Neil Hunter grip asst Gene Warriner gaffer Helmut Marko gaffer asst Joshua Kamau snd rec Dylan Jauslin boom op Sandy BurtonDavis 1AD Steven Charles 2AD Ahmed Osman cont Betty Savage art dir Sinclair Dyer prps/art asst Lisa Fraser-Clark w/robe Tom Frame unit Sagar Janvekar cast Nick Dunbar, Don Langridge, Todd Rippon, Sarah Lineham, Elliot Travers
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
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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, Danny Mulholland asst ed Kevin Dubertrand ADR Darren Maynard cast Elliot Travers, 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 Dudding 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 TBC 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
FRIENDS BY THE WATER
16mm short prod co The Film School dir Sandy BurtonDavis writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Gene Warriner prod mgr Steven Charles prod asst Betty Savage prod runner Sagar Janvekar loc mgr Bonnie low cam op Dylan Jauslin f/puller Helmut Marko c/loader Ahmed Osman vid asst Nathaniel Hinde grip Sinclair Dyer grip asst Tom Frame gaffer Mark Jackson gaffer asst Kathleen Collins snd rec Pavel Kvatch boom op Neil Hunter 1AD Lisa Fraser-Clark 2AD Joseph Ryan cont Lillian Beets art dir Ben White prps/art asst Joshua Kamau w/robe Annalisa Ridley unit Paul Jackson cast Zoe Lovell-Smith, Nick Blake, Bailey McCormack, Vivien Bell, Aidan Grealist
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 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, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno
HOLY ROLLER
Feature prod co Life Films prods Angus Benfield, Mark Freiburger, Ken Robinson, Patrick Gillies asso prods Anne Williams, Nick Prince line prod Nadia Maxwell writer Angus Benfield dir Patrick Gillies prod mgr Nadia Maxwell 1AD Anna Canton 2AD Josh Bridgman prod asst Penny Clark-Hall prod runner Callum Butcher cont Nan Sirisamphan, Aria Broughton DP John Christoffels 1st cam asst Kirk Pflaum 2nd cam assts David Jensen, Jeremy Garland c/loaders David Jensen, Jeremy Garland, Makoto Takaoka snd rec Tim Brott, Hadlee Wright boom ops Hadlee Wright, Makoto Takaoka gaffer Andy Rennie b/boy Chris Fawcett key grip James Creevey grip asst Dan Watson loc mgr Ken Robinson unit mgr Callum Butcher prod design/art dir Bryce Holtshousen art asst Don Bate art runner Kate Geary w/robe Kaye McCurdy w/robe asst Eliza Glyn m/up & hair Liz O’Sullivan, Julie Anne Whitson m/up & hair assts Kendra Cox, Becky Smith, Erin Broadfoot extras wranglers Belinda Davie, Brendon Kircher, Aria Broughton eds Patrick Gillies, Raymond Kennard data wrangler Raymond Kennard app Campbell Platt app asst Steve Smith p/grphrs Steve Brodie, Don Bate, Wayne Williams, Andrew Hewson PR Tactic Communications cast Angus Benfield, Victoria Abbott, Jeremy Brennan, Mike Maxwell, Ron Rodger, Martin Howells, Al Kincaid, Nick White, Patrick Duffy
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 Rogers-Scott 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
SIONE’S 2
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 Robbie Magasiva, Oscar Kightley, Shimpal Lelisi, Iaheto Ah Hi, Dave Fane, Pua Magasiva, Teuila Blakely, Madeleine Sami, Cilla Brown, Mario Gaoa
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 loc Sarah West 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
Productio n Listings 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 BLUE
Short NZFC & CNZ prod cos AKA Film, Curious Film dir Stephen Kang prod Tara Riddell writer Stephen Kang co prods Matt Noonan, Leanne Saunders prod mgrs Anna Walsh-Wrightson, Brendan Allan prod coord Teone Taare Te Tuakana runners Nichole Thompson, Eileen Gallagher DP Virginia Loane add cin Marc Swadel f/ pullers Alex McDonald, John Renata, Julia Green vid assts Nigel Burton, Liam Wilkinson ed Luke Haigh grip Pez Zee gaffers Spencer Locke Bonne, Jerry Mauger lx assts Tom Davis, Henry St John Davis snd recs Ben Vanderpoel, Malcolm Cromie 1ADs Gene Keelan, Rob Grieve art consult Neville Edwards art dir Ross McGarva props stby Rose Worley art asst Lisa Fothergill constr Darren Wilcox w/robe Jasmine Edgar, Hannah Barrett m/up Natalie Perks casual m/up Katie Rogers loc mgr Johnny Edgar p/grphr Eundo Jang ped controls Jackie McGraw, Barbara Rocha safety Curtis Akitt flame art Leon Woods mus Joost Langeveld, Chris Van Der Geer, Mike Newport foley Andy Morton snd mix Chris Burt, Andy Morton film rec fac Weta Digital film rec mgr Pete Williams film rec sup Nick Booth film rec tech Daniel Ashton lab service Park Road fac mgr Nina Kurzmann snd facs Bigpop Music, Inside Track post prod fac Curious Film cam rental sup Metro Film sales NZFilm cast Hanna Lee, Gary Young, Tuyet Nguyen, Yip Yi Hoa, Willie Ying, Niamh Perren, Leo Chalmers, Barry Suffield, Shaun Fullard, Nichole Thompson, Meagan Borcher, Melanie Borcher, James Crow
HOOK, LINE AND SINKER
Feature prod cos Torchlight Films, Community Media Trust dirs/writers Andrea Bosshard, Shane Loader prods Andrea Bosshard, Shane Loader, Jeremy Macey asso prod Rangimoana Taylor DP Deane Cronin prod mgr Rebecca (Bex) Moore prod/cost des Trixie Woodill s/prps Bex Moore 1AD Jeremy Macey 3ADs Rosalind Croad, Erin Woolhouse cam assts Rachel Manley, Isaac Heron, Michael Johns lx asst Kyo Won (Alex) Lee snd Nic McGowan, Joel Anscombe-Smith boom ops Joel Anscombe-Smith, Bernard Blackburn w/robe asst Roch Travers cont Mark Dunick caterer Steph Prowse ed Annie Collins asst ed Leonardo Guerchmann prod assts Mary Hebberd, Jack Nicol, Keryn Johns, Kerem Blumberg, Nicole Case gfx Geoff Aickin, Sebastian Sloan snd post prods Nic McGowan, Joel Anscombe-Smith, Laurie Wright pic post prod Allan Honey cmpsrs David Donaldson, Steve Roche, Janet Roddick (Plan 9), Mark Austin cast Carmel McGlone, Rangimoana Taylor, Geraldine Brophy, KC Kelly, Matthew Chamberlain, Elizabeth McMenamin, Alan Palmer, Eli Kent, Kate Harcourt
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
Television pre PRODUCTION MEGAFACTORY
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
RUGBY WORLD CUP 2011 IN 3D
prod co 3DLive prod Ronel Schodt tech dir Karl Schodt 3D partners Inition UK & Australia OBC Cutting Edge Australia dir Rhys Edwards ad partner Revolution Advertising
SPARTACUS
10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Keith Mackenzie prod dir Michael Hurst asso prods Paul Grinder, Moira Grant prod mgr Mel Turner prod coords Helen Urban, Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod asst Alan Drum-Garcia prod asst Tom Furniss prod runners Chris Drake, Andy Brown prod acct Sherie Wikaira estimator Ruben Ferguson asst accts Lissa-Mia Smith, Bren Mackenzie p/roll acct Alicia Lee acct assts Annie Baines, Lewis Whaitiri cast coord Honor Byrne asst cast coord Amber McAllister cast 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 Michael Hurst dir ep2 Jesse Warn dir ep3 Brendan Maher dir ep4 Mark Beesley DPs Aaron Morton, John Cavill, Dave Garbett cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Roger Feenstra, Henry West, Blair Ihaka, Jonny Yarrell 2ACs Alex Glucina, Dave Hammond cam trnee Neal Wagstaff digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2AD Aimee Robertson 3AD Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te prod des Iain Aitken sup art dirs Nick Bassett, Mark Grenfell, George Hamilton, Mike
Becroft set des Helen Strevens, Neil Kirkland constr mgr Murray Sweetman lead hnd Graham Harris 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 drssrs Eliza Meldrum, Tane Jarrett lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang 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 Barbara Darragh cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson stby Naomi Campbell, Aleisha Hall key backgrnd stby Alistair Johns backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen jeweller Emma Shakes key art finish Steven Starkey key cost props Natalie McAndrews, Sally Maingay cost runner Crystel Tottenham m/up/hair des Jane O’Kane m/up/hair sup Vinnie Smith onset m/up /hair sup Susie Glass, Claire Wolburg, Lauren Steward, Natasha Lees m/up /hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Pilar Alegre m/up pros art Shay Lawrence m/up /hair dept coord Jasmine Papprill m/up /hair asst Tamara Eyre bkgrnd m/up /hair Kyra Dawkins, Carmen Te Moananui m/up /hair asst 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 gene op Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, Marcus Upton, John Paul McDonnell key grip Gareth Robinson dolly grips Kayne Asher, Carl Venimore rig grip Jared Edley b/boy grips Peter Cleveland, Andy South crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis snd mix Dave Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Stuart Thorp stunt coord Clints Elvy, Shane Dawson asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Sven Harens, Steve Yardley sfx tech Brin Compton sfx asst Rowan Tweed safety Willy Heatley, Nick Fryer, Jeff Hales 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 Ramola Lang vfx art dir Peter Baustaedter vfx concept art John Walters vfx onset sups Ben Colenso, Tim Capper
3D AMERICA’S NATIONAL PARKS
5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod mgr Christine Drew NHNZ DPs Max Quinn, Alex Hubert stgrphr Karl Schodt loc asst Lindsey Davidson rsrchr Brant Backlund eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network
3D CHINA REVEALED
10x60min doco prod co NHNZ co prod 3net (Discovery, Sony & IMAX) with CICC exec prod Craig Meade DP/ strgrphr Mike Single series post prod Ian McGee prod mgr Christine Drew rsrchr Jane Adcroft loc fixers Felix Feng, Lauren Wang CCIC fixer Li Pei eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Park Post Road mus Audio Network
3D JEWELS OF THE WORLD
5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod Jocelyn Little post prod BHP Janine Campbell prod mgrs Christine Drew, Sandra Chia, NHNZ DP Max Quinn BHP DP Brad Dillon strgrphr Mike Single dir Kenny Png cam asst Lau Hon Meng eds Jason Lindsey, Joel Tan, Sean Ashley snd Stacey Hertnon, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network prod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Hollings rsrchr Pania Papa, Puka Maeau pres Pania
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ANTARCTIC WHALE EXPEDITION
HD doco prod co NHNZ (www.nhnz.tv) exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling
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 Jeff Avery 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 asst Brent Gundesen prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn, Gemma Murcott Ward cam Sean Loftin, Daniel Wrinch 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 Wilson pres Glen Osborne writers Dane Giraud, Ihakara Wilson DP Richard Harling 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 ed Jason Lindsey, Jason Horner archive prod Lemuel Lyes archive asst Steve Ting 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
COASTWATCH
prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Clare Parsons fund TVNZ
COUNTRY CALENDAR 2011
IN PRODUCTION
AKO
Papa dirs Te Rangitawaea Reedy, Greg Mayor prod mgr Trudy Steele snr prod mgr Sandra Richmond
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
EVER WONDERED – SERIES 2
10x28min cutting edge science & technology brdcst TVNZ 7 prod co Buto Productions exec prod Glenn Elliott n/work exec Philipa Mossman asso prod Karen Bunting prod mgr Jenna Steel prod cam ops Richard Harling, Greg Parker dirs Andrew Whiteside, Dave Hay rsrch Rachael Hennessey asst rsrch Simon Zhou prod asst Rachel Jury snd Cam Lenart eds Niki Hiini, Jack Woon
FIRST CALL
52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panellists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan
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 Christina Dolman prod mgr Dawn Aronie prod asst Samantha Fisher spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston,
The 2011 Data Book is now available. BUY YOUR COPY TODAY for just $25 + GST www.onfilm.co.nz
JULY 2011
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n Productio Listings Sally Page, Pirimia Burger, 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
Tom Dreaver prod assts Nichole Lee Mell, Tim Carr, 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
HAA
NATIONAL WAKA AMA SPRINTS 2010
30min youth prod co Mäori TV exec prod Carol Hirschfeld prod Wiremu Te Kiri asso prod/prod mgr Teremoana Rapley dir Kataraina White pres Amanda Jay Ashton, Nawaia Watene, Junior Paparoa rsrchr Adam Burrell stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond
HEAD START
11x26mins & 2x52mins hairdressing & make up reality competition for a scholarship prod co Mäori TV prod Jeni-Leigh Walker dir Wayne Leonard pres Matai Smith prod mgr Pamela Cain
HINDSIGHT SEASON 2
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 res Nix Jaques
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
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
I SURVIVED 9/11
1x2hr special HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Michael Stedman exec prod Andrew Waterworth series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin asst prod Peter Holmes dir Alan Hall DP Kris Denton 2nd cam Robert Winn, Stephen Downes, Max Quinn, Michael Dwyer VFX Donald Ferns archive rsrchr Lemuel Lyes post dir Bill Morris offline ed Cameron Crawford
I SURVIVED…BEYOND AND BACK
10x60min HD doco prod co NHNZ (03 479 9799) for A&C 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 prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade, Jane Adcroft offline eds Cameron Crawford, Marilyn Copland, Karen Jackson
INSIDE TATTOOING
44min doco brdcst TV3 prod co Buto Productions exec prod Glenn Elliott prod/dir Glenn Elliott prod Karen Bunting DP Greg Parker snd Cameron Lenart ed Niki Hiini TV3 commissioner Sue Woodfield
MANA MA MAU
40x26min brdcst Maori TV prod co Buto Productions exec prod Glenn Elliott n/work exec Melissa Wikaire asso prod Karen Bunting prod mgrs Kara Rickard, Jenna Steel prod cam ops Greg Parker, Jake Mokomoko, Guy Quartermain, Ollie Logan dir Rangi Rangitukunoa snd
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JULY 2011
11hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond
NGA IWI WHAKAPONO
prod co Mäori TV prod Toi Iti rsrch/pres Ruia Aperahama rsrchr Tipare Toi snr prod mgr Sandra Richmond
NGA TAONGA WHITIAHUIA
26x26min NZ Film Archive show prod co Mäori TV exec prod Carol Hirschfeld prod Michele Bristow pres Lawrence Wharerau dirs James Ratahi, Ira Heyder prod mgr Trudy Steele snr prod mgr Sandra Richmond
NZ DETECTIVES SERIES 2
3x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry prod mgr Inga Boyd rsrch Sarah Boddy DP Jacob Bryant n/wrk exec Jude Callen n/wrk TVNZ
wrk execs Reikura Kahi, Melissa Wikaire
TAMAKI PAENGA HIRA
13x26mins Auckland War Memorial Museum tells stories of 13 Taonga prod co Mäori TV exec prod Eruera Morgan prod Mechele Harron dir Tihini Grant prod mgr Trudy Steele snr prod mgr Sandra Richmond
TE KAEA
30min wkday, 20min wkend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign eds Aroha Treacher, Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Mark Robinson reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Harriman, Mere McLean, Rahia Timutimu, Heeni Brown, Rau Kapa, Numia PonikaRangi, Kereama Wright prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama
TE TEPU
30min wkly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Mark Robinson prod/pres Waihoroi Shortland prod co Ripeka Timutimu
THE ART OF ARCHITECT
PRIMEVAL NEW ZEALAND
1x60min HD doco prod co NHNZ exec prod Judith Curran prod/ed Celia Offwood cam Max Quinn rsrchrs Brant Backlund, Steve Ting prod mgr Glenda Norris
44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/prod acct Deb Cope dir Dean Cornish sen rsrchr Sue Donald rschr Sue Killian
RAPTORS
THE BOX SEAT
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
48x60min prod co Trackside exec prod Mandy Toogood prods Matt Smith dirs Jamie Annan, Glen Bourne, Brendan Burns, Marty Henderson host Brendan Popplewell prod asst Nichola Johnson eds Elena Ash, Shane Devitt, Iain Logan, Rhyce Barker
RENTERS
THE COURT REPORT
prod co Greenstone Pictures ho prod Andrea Lamb prods Simone Goulding, Anna Lynch prod mgr Laura Peters fund TVNZ
15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King n/wrk Philippa Mossman
SCU – SERIOUS CRASH UNIT
THE ERIN SIMPSON SHOW
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, Jonathan Alver, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson 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, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Kylie Newman script typ Casey Whelan 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 art dept mgr Sophie Elworthy stby prps Natalie Tsuchiya, Scott McDowall art dept assts Brooke Darlison, Logan Childs, Jessica Leijh gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Joss Henry, Kerri Wheeler cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Toni Anne Arbon, Katie Fell, Sophie Beddoes ed Anna Benedikter asst ed/digitiser 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, Linda Cartwright asst chaperone Kate Lumb comp Graham Bollard 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
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/
www.onfilm.co.nz
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 Kate Roberts prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham
UNDERBELLY NEW ZEALAND
6x60min drama prod co Screentime ep Philly de Lacey prod/dir Ric Pellizzeri dir Mike Smith co prod Bridget Bourke prod coord Jo Finlay prod sec Kate Moses cast dir Terri De’Ath 1AD Natasha Romaniuk eps 1-2, 5-6 Edd Bennetto eps 3-4 2AD Katie Hutchinson 3rd AD Richard Silvester ep 1-4 Sarah Rose ep 5-6 on set PA Rachael Bristow prod runner Melinda Jackson prod des Chris Elliot art dir Brant Fraser on set art dir Sam Storey art dept coord Liz Thompson-Nevitt set dec Gareth Edwards prps buyer/set drssrs Karin Reinink, Gareth Mills prp master Seth Kelly prps assts Scott Satherley st/by prps Zach Becroft art assts Anna Roswell art runner Bonnie Kells scenic art Peirce Clarke constr mgr Matthew Thomson gfx Sue Mercer vehicle wrangler Justin Cardon DP Tom Burstyn 1st cam op DJ Stipsen 2nd cam op/gaffer Grant McKinnon 1st AC Peter Cunningham 1st cam 2nd AC Kent Belcher 2nd cam 1st AC Steve Allanson 2nd cam 2nd AC Kim Thomas eps 1-4 Mi Kyung Shannon Ryu eps 5-6 DIT Jay Weston cont Hayley Abbott eps 1-2, 5-6 Laurel Urban eps 3-4 gaffer Grant McKinnon lx assts Brian Laird, James Young, Mike Toki lx trnee Alex Jenkins key grip Anton Leach b/boy Chris Rawiri grip asst Winnie Harris grip trainee Sam Donovan snd rec Adam Martin boom op Sam Good eps 1-2 Kyle Griffiths eps 3-6 stunts Mark Harris cost des Tracey Sharman w/robe sup Kirsty Steele w/robe st/bys Jacinta Driver, Carmel Rata eps 1-2, 5-6 Ciara Dickens eps 3-4 drssr Adele Hing w/ robe assts Keri Wheeler, Lissy Patterson m/up hair des Tracey Reeby m/up arts Jean Hewitt, Kirstie Fullerton, Reia Perkins m/up trainee Merin Williams loc mgr Sean Tracey-Brown loc asst Craig Tikao safety coord Robert Gibson on set safety Steve Jennings unit mgr Charlie Adams unit asst Nod Anderson caterers Luscious prod acc Barbara Coston acc asst Mandalina Stanisich ed Lisa Hough eps 1-2, 5-6 Margot Francis eps 3-4 ed asst Shailiesh Prajapati legals Russell McVeagh, Karen Soich cast Dan Musgrove, Thijs Morris, Holly Shanahan, Jamie Irvine, Stelios Yiakmis, John Leigh, Errol Shand, Joel Tobeck, Gary Young, Edith Poor, Richard Knowles, Damien Avery, Andrew Laing, Will Hall, Aaron Ward, Mark Warren, Scott Wills, Olivia Tennet, Colin Moy, Rachael Blampied, Peter Tait, Katherine Kennard, Melissa Reeve, Sophia Huybens, Esther Stephens, Sophie Henderson, Anna Jullienne, Milan Borich, Jason Hoyte, Johnny Barker, Calvin Tuteao, Tahl Kennedy, Ranald Hendriks
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 Jan-Marie Nicolai ed Chris Anderton pres Jim Mora, Julia Bloore
WHAT NOW
120min weekly live kids show pres Charlie Panapa, Gem Knight, 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 field dir Sam Gill 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
WILD VETS
prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Carita De Jong fund TVNZ
POST PRODUCTION BILLY
Telemovie NZOA/TVNZ Red Camera prod co Comedia Pictures prods Tony Holden, Judith Trye dir Peter Burger writers Briar Grace-Smith, Dave Armstrong prod acct Esther Schmidt ed Eric de Beus asst eds Adam Page, Sean Rooney vfx Peter McCully post prod VTR snd des Neil Newcombe snd mix Suite 16 cast Tainui Tukiwaho, Morgana O’Reilly, William Davis, Vicky Haughton, Kelson Henderson, Celia Nicholson, Luciane Buchanan, Jarod Rawiri, Owen Black
I SHOULDN’T BE ALIVE
2x45min drama docos - Blood on the Mountain & Treacherous Mountain prod cos Making Movies/Darlo Smithson exec prod Tom Brisley UK line prod Vaughan Watkins UK dir Russell Eatough NZ prods Andy Salek, James Heyward prod mgr Mel Hotop runner Sam Wilson 1AD Hugh Barnard DP Simon Baumfield cam asst Roger Freenstra snd Tim Brott loc/2AD Daz Caulton safety Dave McLeod art dir Glenn Russell m/up/stby Davina Lamont unit Heidi Watson stby art dept Nick Walker prod acct Kylie Strain casting Annabel Lomas cast Blake Henshaw, Jay Saussey, Tahi Mapp-Boren, Erin Johnston
MEET THE LOCALS CONSERVATION WEEK SPECIAL 2011
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
NOTHING TRIVIAL
13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald writers Gavin Strawhan, Rachel Lang, Kate McDermott, Nick Ward h/o dev Tim Balme dirs Mark Beesley, Murray Keane, John Laing, Peter Salmon acct Elisha Calvert asst acct Sheree Silver eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell gx Savannah MacIntosh post prod sup Grant Baker pub Tamar Munch pub asst Lucy Ewen stills Jae Frew, Matt Klitscher cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy
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
WILD COASTS WITH CRAIG POTTON
5x60min doco series prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey prods Nicola van der Meijden, Raewyn Mackenzie dirs Dan Salmon, Michelle Bracey, Karen MacKenzie, Chas Toogood line prod Loretta Jacobs pres Craig Potton rsrchrs Rachel Stace, Jane Dowell cams Drew Sturge, Chris Terpstra snd Matt Heine cam/prod assts Arno Gasteiger, Mike Potton
WORLD KITCHEN 4
8x22min food & travel show prod co Zoom Slide pres Nicki Wickes prods Heather Lee, Martha Jeffries exec prod Alan Harris prod mgr Martin Hale dir Martha Jeffries post dir Brendan Withy eds Olly Harris, Prisca Bouchet