Drama on Our Streets Remembering and Recreating the Springbok Tour

SPRING 2011 | ISSUE 50

NZTECHOThe New Zealand Film and Video Technicians’ quarterly

Drama on our streets Remembering and recreating the Springbok tour

Christchurch: Remembrance and recovery

Reaching 50: Recalling the beginning

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Sydney +61 2 8437 5555 Gold Coast +61 7 5656 7333 Melbourne +61 3 8532 8800 Auckland +64 9 360 8770 www.panavision.asia EDITORIAL CONTENTS Ah the vagaries of editing NZTECHO. I’ve been schooled on more than GUILD NEWS & VIEWS one occasion by one of our tame professional-writers about what does and does not comprise a ‘real story-angle’. I’ve soldiered along, part-discovered, 2 President’s rave part-developed the angle for a promising story only to be scuppered by the Pres Alun ‘Albol’ Bollinger on the latest immigration and getting paid schedules of publicity departments. For this issue I thought: something’s 3 Behind the scenes gotta give. This is the 50th Issue of NZTECHO since its inception. A Golden Executive Officer Fritha Stalker reports Issue. Accordingly there should be some pretty special content. Eek! Turns out we got there, and as usual it took a village, thanks everyone. INDUSTRY 50 issues of NZTECHO and the Guild still under the steady helm of President 6 Shooting Rage – then and now Albol! I searched the NZTECHO archives (see page 14) to check out early Capturing the 1981 Springbok tour and recreating it in 2011 issues… In May 2002 when “Old number one” hit letterboxes, Albol was 10 Fixing a broken television set wearing a shiny-new President’s mantle, having just been handed it by David CTV recovers, while remembering those gone forever Madigan. Then editor Tim Pope’s description of Mr Madigan as ‘ferociously hard working’ had me smiling (some things never change) and thinking there’s 16 In focus: Vanishing spectrum much to be learned from our first editor’s easy, engaging style (not to mention 18 News reel: Government updates, online retro TVCs and crew interviews wit). I have an ingrained tendency to be overly didactic (excessively instruc- tive). (Some blame my previous life as a lecturer – in truth I’ve always been like TECHOSPHERE this…) Still, I can be entertaining when I write, I just have to figure out how to 4 Fine print: Ever feel like you’re being used? balance it with creating material fit for public consumption! 5 The treatment: Book review I am really pleased to be able to present the CTV story in this issue. It brings 14 Retrospective: 50 issues and counting… both hope and recognition of remarkable survival and recovery. I’ve no doubt that it will move everyone when they contemplate the list of those lost, that 17 Point-of-view: No pressure, mate they be remembered. 19 Extreme close-up: Members profile – Zara Hayden Also in our memories are the impassioned times of 1981, immortalised in 20 Members with benefits: Interislander discounts various ways – the most recent of which being TV drama Rage (just about to air as I write). Memories in the latest tome about NZ film are given a thoughtful once-over by a veteran rabble-rouser who also features in the Shooting rage piece. In the next – summer – issue we hope to explore more about the way we all work together to retell stories of New Zealand’s past. In this one I hope you enjoy a taste of the many stories surrounding that ill-fated Spring- bok Tour as you contemplate the current Rugby World Cup from whatever place you view it… There’s some important admonishment/call to arms in Fine print (page 4), and I suspect discomforting (but complementary, and equally important) reading in Point-of-view (page 17).

When your emotions have had enough for a moment, have a bash at getting Cover shot: David Paul and Brad Hurndell working with the SHC controller. Credit: Hanna Ley. your head around radio-spectrum issues. If more outside the wireless users community don’t get to grips with this voluntarily, they may find it thrust upon ISSUE 50 SPRING 2011 them… And, don’t forget to scan the new members list, these are the new Editor Advertising blood here and they need your camaraderie and congratulations… before we Fritha Stalker Advertising queries, please contact Fritha Stalker on 09 302 2202, get them to work! Publisher/advertising [email protected] or 0800 TECHOS. For a copy of our ad specs and rate card, please visit our website. Fritha Stalker Fritha Stalker Design Editor-at-large Justin Westgate / biote All contents are copyright New Zealand Film and Video Technicians’ Guild, 2011, unless indicated otherwise. May not be Printing reproduced, copied or transmitted in any form without permission. TP Printing Services Ltd. The views expressed in this publication do not necessarily reflect the We appreciate the support of: Contributors views of the New Zealand Film and Video Technicians’ Guild. Waka Attewell Haresh Bhana Steve Barr Stephen Buckland Alun ‘Albol’ Bollinger Carolyn Brooke Aidan Evans Zara Hayden Tony Forster Tim Riley www.nztecho.com

2 | NZTECHO Spring 2011

PRESIDENT’S RAVE Award-winning cinematographer and committed West Coaster, Alun Bollinger has been President of the Techos’ Guild for an age. Short jobs and short change

50 issues of NZTECHO, that’s quite a mile-stone. one not charge a cancellation fee which includes the loss of income Big thanks are due to Tim Pope and Tony Forster, our first two editors, from that equipment? for bringing us this far! After three months and a flurry of e-mails the situation has come to a Immigration is an ongoing issue for the Techos’ Guild with the system as resolution. The soundie’s invoice has now been paid. [Great outcome, it is at present proving to be confused and inadequate. I hear you sigh with relief. Well, yes, I got a bit happy myself. But before we totally lose sight of a reasonable world, ask yourself: Do you think the I’ve heard it suggested that any job of 14 days or less should not require payment came with interest covering the period that the soundie waited work permits for any crew coming in from off-shore. This would cover for payment that – after all – they’d been due all along?… EO]. n most incoming commercials and a great deal of other screen production work being done in this country. The argument can be made that this is only ever likely to mean a DoP coming in along with a director and producer. But if no work permits were required for these ‘short’ jobs then any crew or cast member would be allowed into the country, no questions asked, without any discussion and without any need for consideration of who might be suitable and available locally. Such a scenario clearly goes against the spirit of our immigration law which is primarily designed to protect our borders and put the Kiwi work force ahead of those from off-shore. It can be argued that allowing a more open border policy could actually be good for local business, but it can also be argued that once we lose sight of who’s coming in to work here we are in danger of becoming no more than a service industry in our own country. On top of this there really is no other reliable way of ensuring visiting productions make contact with the NZ screen production industry which is necessary if we are to take good care of our locations and keep a watchful eye on health and safety issues within our industry. The immigration/work-visa applica- tion process also provides an avenue for gathering important information about what screen production is taking place here in Aotearoa. It will always be a balancing act, weighing up the benefits of off-shore crew coming in against potential work gains and/or losses for local crew. I believe that balance should not be taken out of the hands of those most affected by the process. Disturbing news about an Australian production company which was working on a commercial here in NZ earlier this year. It seems the Australian producers have been reluctant to pay cancellation fees to the soundie who was working on the job but who’s services were cancelled with no notice and through no fault of their own. The soundie submitted an invoice for work completed, and work cancelled at no notice, but the Aussie producers argued that they should not have to pay any cancellation fees for the soundie’s equipment. Would any of you running a truck full of equipment accept a cancellation fee which covered only your personal fee with no compensation for the Mick Sinclair loss of income from your equipment? A techo’s equipment, be it sound recording gear, a truck full of grip equipment or a wardrobe bus, is a major investment for the person who owns and hires out that gear and as Ph +64 9 360-9995 www.sinclairblack.co.nz such is also a major component of that person’s income, so why would NZTECHO Spring 2011 | 3

BEHIND THE SCENES Previously an academic nurturing young biologists at Auckland University, Executive OfficerFritha Stalker now ably tends the Techos’ Guild What a lot going on leading up to this issue! Line producers got a bit of a hearing in the latest On Film. Claims that Yes, you have to do it individually. Unless you fancy collective bargaining… “crew keep raising their rates” and “just keep shifting their rates random- Ah the old chestnut, $NZD value is the primary driver for levels of ly” dumbfounded me. Equally the inference that crew rates contribute international production. It’s oft said because it’s true. To say we should to a quoted 20% increase in costs since 2004 left me scratching my adjust our immigration policy to avoid inaccurate whisperings overseas head. How on earth, I want to know, does this match consistent reports is farcical. There’s not much we can do about business decisions based that crew rates have remained unchanged for over ten years? What’s on hearsay. Our industry can only be so big, and we gain recognition for going on here? Survey time, would be an obvious rejoinder. Alas, survey what we do well. Total revenue will never tell the story of screen industry response rates are famously low… success. Aiming for all screen workers to ‘make a living making films’ (TV, …Segue to agreement with one point (made by Iris from Batch film): crew TVCs, etc) – with emphasis on living – that’s a goal for our niche-market need to be more proactive. By the same token the nature and level of nation. South East Asian countries might be putting up a good fight for responsibility reasonably asked of crew will always be markedly differ- pieces of the same sandpit as NZ line companies, but god forbid we ent from that asked of producers who elect to lead the show. Not least ever use countries devoid of basic human labour protections as yard- in the post-Hobbit Law landscape. Many producers – particularly those sticks of our success! There’s a reason NZ shoe manufacture is limited… supporting wholesale ‘opening up’ of immigration and removal of other and doesn’t include manufacture of running shoes for Nike or Adidas. levellers – need a dramatic rethink to genuinely engage in good-faith with Some reading in this issue (Fine print, page 4; Point-of-view, page 17) independent contractors. Under-quoting, then levelling blame at altered might be a bit uncomfortable. Why? There are many possible reasons contractor-rates is naïve and betrays an ‘employee-in-contractor’s-clothing’ not to explore, in conversation, or your own mind, the issue of bullying at attitude that is the dirty little industry secret. How about seeking independ- work. Maybe it feels like branding yourself a victim, or a moaner. Better to ent contractors’ agreement on rates for a fixed period of time so jobs can continue day in, day out, as a target? Or allowing the bullying of others? be accurately quoted in the fast-turnaround world of international TVCs? Sounds a bit dramatic. Well all I can say is: it bloody well is! I came to the Guild precisely because my former work place at Auckland University was a breeding ground for successive (management) generations of bullies. If you have any doubts, consider this: despite a 50% pay drop, and living pay-to-pay with no other income or assets, I’ve been infinitely hap- pier here, and wouldn’t change my decision for anyone. It’s not always about the money. How come then, I can say crew do not so much as have their rights wrested off them, but rather ‘pop them in a box, wrap a ribbon around it and hand it over with a smile’ (or is that a tug of the forelock?). Is ‘cultural cringe’ still a big part of the way we operate? The inability to stand by ourselves, our work and say ‘hell yes it’s good!’ and ‘hell yes it’s worth sticking up for!’ I don’t know the answer, and I don’t work out there with you, but I know you need to consider what the answer might be. It’s a bloody big puzzle. How do we make our industry successful? Finding the answer means asking: How do we measure success in our industry? This is a powerful key to unlocking other answers that drive future directions – e.g. do we value public broadcasting (does success mean telling our stories?), what should our policies for immigration be (is success volume of work, or quality of jobs on visiting international shoots?), how much safety are we willing to gamble with to get the job done (is success everyone going home safe at the end of a shoot?). The other puzzler is this: why is an inherently collaborative industry beset by apparent disagreements between departments, those below-the-line, 09 818 1981 www.dolly.co.nz and those above? I suspect there’s a small matter of mutual understand-

P.O Box 8068, Symonds St, Auckland 1150 ing to use our collective smarts to find the best ways of ‘getting the 9A Akatea Rd, Glendene South, Auckland 0602 job done’. n 4 | NZTECHO Spring 2011

FINE PRINT Tim Riley is a lawyer with Dominion Law, a specialist entertainment law firm that recognises that creative people need creative lawyers.

Ever feel like you’re being used? If the last couple of years have demonstrated anything for techos, it’s that one wanted to talk about it or make a fuss. This is a peculiarly NZ attitude you need to stand up for yourselves. It’s difficult in an association com- I think. It reminds me of an anecdote told by Michael J Fox when he lived prising such a wide diversity of occupations, but you really need to back out here for the filming ofThe Frighteners. He relayed how one lunchtime yourselves and, to use that old union phrase “be strong”. on the set he was standing talking to a couple of people and eating his There are a few reasons why I say this. A few instances where I feel you lunch. He’d been in that same position for five or so minutes when some- have allowed yourselves to be used for other peoples’ purposes and have one hesitantly tapped him on the arm and very apologetically explained not worked out what is best for your own interests. that he was standing with his foot in their plate of food, and would he First, you were prevailed upon by Richard Taylor to march through the mind moving it so they could finish their lunch. He could not believe the streets of Wellington in protest at the actors’ industrial action on person had not just yelled at him as soon as he put his foot there – “hey The Hobbit, at a time when the key players, including the government, get your fucking foot off my plate!” Which is how, he said, it would have all knew that the dispute had been settled. And the only reason that gone down in America. information was not made public was because Peter Jackson did not So I think that’s part of it, but I also get the feeling that people have a like the wording of the press release announcing it. perception that if you dispute something in the screen industry you will Then, to thank you for your support, The Hobbit production company be seen as a troublemaker and will not get work in the future. If this is the persuaded the government to pass an urgent change to our employment case it’s precisely the wrong attitude for a number of reasons. First, of law specifically to take away from you a fundamental legal right you had course, how can you fix something that is wrong if you don’t take issue had since the birth of your industry. Hey thanks guys, no problem. with it? And if you consistently roll over rather than take action to remedy And to complete the trifecta, we all subsequently discovered, due to the wrongs people will just continue to take advantage of that. Sure, people publication of an email from Peter Jackson to Gerry Brownlee, that the that are always complaining over trivial things are not going to be persua- actors’ dispute had never had any bearing on the Warner Bros’ decision sive. But in my experience, people that stand up for themselves and fight about where to film in any case. Triple whammy! for what they think is right, are ultimately respected. But wait there’s more. After a very worrying time for many of you, who Aside from anything else, it’s not a psychologically healthy way to work. were engaged to provide services to the Bollywood filmPlayers, you then It conveys a victim mentality. I think there are some aspects of our industry had to watch John Key bumbling his way around the set of that very film in that work to produce this affect. Work can be hard to come by some- Mumbai promising to do what he could to “make it easier” for productions times, and obviously you need to feed the family. The industry is very like that to come here. And – as if he had no idea that immigration was a hierarchical (although from what I have heard, a lot less hierarchical than hot topic in our industry, and that Players Film Ltd had reportedly brought the Indian film industry. At least you don’t live in slums I guess…). Indian nationals into the country without following the proper immigration The egalitarianism that we pride ourselves on can be used against us. We process – he went on to say “there’s a number of things, we might help are consistently told how accommodating and flexible our film crews are, with immigration, speed up the process there…” Does this man not and how this is one of our great selling-points, compared to the overly- have advisers? regulated conditions in other countries. That’s all very well, but don’t One thing that struck me when I got involved in the Players dispute was believe too much of the hype. You are talented, resourceful, and creative. the climate of secrecy surrounding it. A number of people had very seri- That’s why TV and film producers want to hire you. You don’t have to be ous concerns across a range of aspects (including not being paid), but no docile to go with it. n

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THE TREATMENT

Waka Attewell considers how this latest tome stacks up when it comes to telling the story of New Zealand film history.

A book shop. I fold my body in from the a cash flow. This is a rich winter blast; in pride of place is New Zealand tapestry. FILM – it’s bold and brassy, I go straight to Chapter six anchors the film the index. business in the land, becom- Oh – um err, oh well… I must be amongst ing a viable industry with a the ‘W’s. future. It’s a familiar room – With an eclectic mix of contributors, the the next two chapters should vibrant cover – images are from films by also be compulsory reading directors of note – says ‘come on in’. The for any film student… It’s got first three images are easy to pick, the last great cross-reference and took a bit of research. Good thing I had the book of speaks openly about the tax New Zealand Film – An Illustrated History to refer to! break years when feature films made money for their investors even when It’s a New Zealand history book and I’m looking for the ‘national cinema’ they weren’t released… I’m enjoying the detail. bits. You know the sort of thing? Our films. About us. Bruno Lawrence and In a country where the right wing are now using the term ‘Maorification’ – the black-and-white still on the back cover suggests a time before time – what of Maori film history? Suffice to say Maori get a mention, they stare already I feel there is a sense of ‘from here to there’ and I haven’t left out from the bush in Hollywood expectation of a ‘native’ in an exotic land. the shop. In the 50s Maori are assimilated into Pakeha culture as the films of the day It’s a brave soul who speaks the history of anything, as history is an inter- suggest the old ways have past and Maori are becoming more Pakeha… pretation and a shifting concept. I continue to marvel at the way that the After all it’s a history book and the conquering side make it Their History unorthodox becomes orthodox… just give it time. That’s what history has eh, e hoa? – a lot of time on its hands. By the time you hit chapter ten Jackson is making box office successes in Roger Horrocks’ intro is great stuff – the struggle to make films started that matinee style… Kind of like we remember from when we were kids. more than a 100 years ago, did you know that? Every film student should But New Zealand history? The bookend is the story of Boy and its success read this on day one of their course, and then again when they graduate. in local cinema. Boy’s inability to travel far from the shore is worn like a The 29th November 1895 is a good place to start this film journey: The badge of courage rather than seen as a failure… And between the lines very first moving pictures exhibited on Auckland’s Queen Street. Then the of a marvellous well-researched and written book sits a question: Should wars, travelling cameras shooting local stuff, the beginning of government we be seeking the blockbuster or looking at our own backyard, making involvement with the first film censor (1916), the call for a British film quota ‘national cinema’? as the Americans started their domination (1929), regular New Zealand A nerdy kid farted and burped his way into our cinema consciousness… news reels from an Australia Company in 1930’s and the beginnings of then he took over Hollywood. Who could have known? The Jackson Effect the NFU (National Film Unit) in Mirimar (1936). is a perfect chapter for a perfect time, sitting alone. It had to be mentioned, It’s a great read about beginnings, failings and evolving trends. By the and the large-budget picture is leading the way in computer-generated middle of the book I’m starting to recognise people and by chapter five we movies. It’s not about us, really… But it did happen in a country where get into Pacific Films and very familiar territory – Morrow Productions and recently the Actors ask to be included in the wealth, and instead a star- independent films as TV begins. Peach Wymss Astor Productions and TV struck Government ignored its own workers to strike a deal that will cost commercials bring a bit of discipline to the business as a way to establish the taxpayer $35m. We wont be writing about that just yet, though… continued on page 13 6 | NZTECHO Spring 2011

CLOSE-UP

Shooting rage –

Above from left, clockwise: Hamilton In 1981, protests over the Springbok rugby tour and apartheid protests led to cancellation, 25 July 1981; Auckland: makeshift armour vs police divided New Zealand. Independent filmmakers played a central riot gear; police and protestors assemble around Eden Park; drama and chaos on role in the telling of stories about that fateful time. urban streets; pitch invasion and flares shut-down the Rugby Park, Hamilton, game; ‘Molesworth Street batoning’ Thirty years later, as New Zealand prepares to host a Rugby World outside parliament in Wellington, the first Cup, Tom Scott (producer and co-writer), Emma Slade (producer), time police use batons on protestors. Opposite page, left: Tom Scott, DoP Grant O’Fee (co-writer), Danny Mulheron (director), and David David Paul and Brad Hurndell getting to grips with the SHC controller. Paul (DoP) orchestrated the telling of Rage – a television drama Credit: Hannah Ley. Top-right: David and Brad with the love story, set against the backdrop of the Springbok tour. SHC controller. Credit: Hannah Ley. Bottom-right: David and 1st AC Steve Barr spoke with some key players about how they shot the Charles Edwards setting up the Arri Alexa with the Easyrig body harness. original tour, and how filmmaking has changed since then. Credit: Kat Grooby. NZTECHO Spring 2011 | 7

Shooting rage – then and now

Part One: Then, 1981 Attewell and the Vanguard boys [Alister Barry, Russell Campbell and Rod Prosser] and Gerd Under the radar of the establishment of the Pohlmann was involved. time, a small number of intrepid filmmakers sought to record the chaos and drama associ- Waka Attewell: We were a country that was ated with anti-apartheid protests triggered desperately trying to find its identity. We were by the 1981 Springbok Rugby Tour, from an close to civil war. There were quite a few of us independent perspective. who established the freelance industry in the “It was an amazing 70s. We were living paycheque to paycheque, Much of the independent footage went to commercial to commercial. During that time, moment when a create Merata Mita’s influential and acclaimed there was no funding body like NZ On Air, so documentary PATU! creating an independent bunch of independent a lot of people were doing self-funded things. telling of what occurred during this period. We were of the 70s generation that didn’t filmmakers pulled in Filmmakers Waka Attewell (cinematogra- think of television as a commercial venture. all of their resources... pher), David Paul (cinematographer), and Never in our wildest dreams did we think that Gaylene Preston (writer/producer/director) the commercials would become more impor- so that one filmmaker talk about the trials and triumphs of film- tant than the programmes. making during this dramatic period of New could go away and cut What cameras were you using at the time? Zealand history. Waka: Actually, the camera I used is in the the film she wanted David Paul: In 1981, I was a camera assistant Archives. A 16mm NPR Éclair. Of course, we at TVNZ in Wellington. I was never allowed to make. That spirit of were doing our own loading, of 10-minute to go out with the news crews; they couldn’t rolls. There was something really honest cooperation is worth have looked out for me. The sound recordist about those 10-minute rolls of film. Now, you quite often became the eyes in the back of the remembering and stick in a P2 card and roll for half an hour, cameraman’s head. On the other side of the kind of like hosing everything down and not treasuring.” fence were people like Gaylene Preston and thinking it through. But with the 10-minute Alun Bollinger, the independents at the time Gaylene Preston limitation, you were thinking in sequences. who were out there shooting. You’d make a lot of decisions before you Gaylene Preston: We were independent turned the camera on. filmmakers and had to work outside of the Gaylene: Basically, we used whatever cam- institutions. Up and down the country, there eras we could lay our hands on. Waka and were a lot of people shooting film, some of I always seemed to end up with the worst it was… well, we’d get ours from TVNZ… cameras. There were a few Arris – there are Everybody kind of got their film stock their photographs around with cameras – I think own way. I was working down here with Waka Roger Donaldson even picked up a camera 8 | NZTECHO Spring 2011

for the last test up in Auckland. These days, to raid the Labour Party’s film. I thought that there would be so many versions of it be- was a bit of insurance. (laughs) cause everybody would be getting it on their How did PATU! come about? cell phones and it would be put up on the Gaylene: Merata Mita got in touch with me internet. well before the Tour. As it escalated, it became “I didn’t under- David: We were all shooting on CP16 film apparent that she should be given all the foot- cameras, which were our standard news cam- age. I don’t think there was ever any argument stand at the time eras of the day. The TV cameramen weren’t about it. trying to shoot from the police perspective; in but now I do: the Waka: There were about sixteen different fact they were getting quite upset about how individuals. We all knew of each other, so it independent film- the footage was being used on the news, not became a question of choosing someone who showing what was really happening. Wayne makers were so had mana to pull the whole thing together. Vinten, who was a news cameraman at the : We had an overwhelming kaupapa passionate about time, really took it to heart and wanted to Gaylene that we wanted our footage to go to one film- tell the truth. He would drive outside of his maker to make a cinema feature. So that’s telling the truth. It’s regular jurisdiction to get as much on film as exactly what happened. It was an amazing a real privilege for he could. moment when a bunch of independent film- Gaylene: We used film stock that we could me to make a film makers pulled in all of their resources, put it lay our hands on. Someone had a mate in all underground, then put in the same place the news department at TVNZ so a lot of about a period in so that one filmmaker could go away and cut the film stock we used came off the back of a the film she wanted to make. I think that’s a the lives of a lot of lorry. (laughs) Once we’d shot it, it had to be proud moment for the NZ film industry, and hidden. If you sent your films to be processed these people I that spirit of cooperation is worth remember- in the laboratory, the police would seize the ing and treasuring. look up to.” footage in order to go through it and arrest David Paul people. I think Rod Prosser put his film under Part Two: Now, 2011 an auntie’s house. I hid our material in boxes In May 2011 streets north of Wellington City in Jamie Selkirk’s cutting room, with exposed roiled with the sound of actors re-enacting film for the Labour Party commercial. So if Springbok Tour protests, on location for they wanted to raid to get our film, they had the television drama Rage. This NZ-on-Air Platinum Fund $2.8m production dramatized Left: Waka behind the NPR those troubled times with the benefit of tech- Éclair on TVC shoot, with nology that has improved spectacularly in the the Ranfurly Shield, in the ensuing 30 years. Canterbury rugby dressing room (c1982). David Paul: Rage is a love story, a social state- Credit: Barry Durrant/The ment, a look at our history. It’s a moment in Dominion time that was part of shaping who we are as a nation today. Our opening scene is epic. The movie starts in South Africa, it’s a pretty intense scene because of the implications of it – it’s Steve Biko, dead. The death of Steve Biko was huge, off inside magazines with pre-threaded NPR Éclair historically. Because of this helicopter rig film-loops; quiet operation (NPR = Noise- from Shotover Camera Systems we’ve got this This revolutionary camera heralded the less Portable Reflex) came courtesy of development of independent film by big sweeping shot across the savannah (which a direct drive motor (no belts or gears), is Waiouru but looks like South Africa), with replacing earlier models too large, noisy and a special mechanism to ensure film this vehicle driving up a dirt road, and it looks and cumbersome for ease of use on moves quietly inside the camera. Factory- great because the land up there is wide and location. The Éclair provided convenience, installed wireless crystal sync sound big. If we didn’t have this chopper mount we freedom and stability for shooting outside was another NPR Éclair first, and with wouldn’t have the same scene. the studio: light enough (éclair = light) for the development of Super-16mm in the It’s a fascinating rig. It’s a six-axis thing; they the — now classic — hand-held position 1980s the Éclair was first to be modified can turn it in any direction. I only had 5 min- resting on the operator’s shoulder; 400- for its use. utes to play with it before we shot. I jumped foot spools of film instantly snapped-on/ into the helicopter with Brad Hurndell from NZTECHO Spring 2011 | 9

Shotover. He showed me through it really have people in NZ who are early adopters of Above left: David Paul and Charles Edwards quickly, we took off. It was such an easy sys- new technology and brought these cameras in, shoot a Hercules at Wellington NZ Air Force tem to use – here’s your zoom, here’s all your and we get to use it. Rage is benefitting hugely base. Credit: Kat Grooby. controls, here’s a beautiful joystick which isn’t by having this camera. Above right: (from left) David Paul, Tom Scott, Danny Mulheron, Emma Slade and Brad Hurn- fiddly like a lot of joysticks are. We needed How will the new cameras change filmmaking? dell on wrap of the first day’s epic helicopter an epic opening, and we got it because these David: With the Alexa, if you’re a bit off with shoot (Waiouru). Credit: Hannah Ley. guys. They stepped up and delivered. light, you can really rescue the image incred- How has camera equipment changed since ibly easy. We were running out of time for a 1981? day scene of protestors being chased by rugby David: I did a camera test for Rage. It was clear supporters. We had run out of light but we from the script that it shouldn’t be shot on the had to shoot. We shot the scene from several Red, because it has a look that I felt was not angles with incredibly low light, but on the suited to this film. It needed a look that was Alexa it still looks like daytime. slightly edgy and had a little bit of attitude, so The post-production path is different and we tested the Sony 9000PL and the Alexa. We saves money and time. We created a very were blown away at how good they both were. simple post process for the Alexa. It goes onto Waka: The Alexa is the most perfect camera hard drives, we do a quality control sheet, on the planet. You suddenly feel like you’re Peter Skarratt puts it into Avid files and bins, back to being a cinematographer, where if sends it straight on to the edit suite. We keep you’re shooting on the Red you’re spending a couple of copies of the raw footage (which all of your energy getting the thing to do what looks very flat and milky, like a negative) you want it to do. With the Alexa, it’s like which we’ll grade from, but the edit suite gets shooting film. It’s the difference between a a nice image that has the colours and con- German company that make cameras and an trasts back in it. They edit in HD, make an American company that started off making EDL at the end, they’ll do a conform, then go sunglasses and decided they wanted to make back to Park Road to do a shot-by-shot grade a camera. There’s something Germanic and from the original footage. solid and great about the Alexa. Any last thoughts? David: The Alexa has been a dream. It’s a really David: I didn’t understand at the time but now good camera, well worth the hype. I’m wary I do: the independent filmmakers were so pas- of hype around cameras, but it’s stunning. We sionate about telling the truth. A lot of these had a lot of stuff in the back of a van, in small people, they’re the people we look up to now. sets, so camera size was very important. The They established our film industry for the last Alexa has a beautiful low profile, small camera thirty years. It’s a real privilege for me to make body, and it just sits on your shoulder really a film about a period in the lives of a lot of well and can fit into tight spaces. these people I look up to. n Queenstown Camera Company brought the Alexa in very quickly. It’s a privilege that we RAGE had its debut on 4 September on TV1. 10 | NZTECHO Spring 2011

WIDE-ANGLE Fixing a broken television set

Canterbury Television was brought to its knees in the devastating earthquake that hit Christchurch on 22 February 2011. Along with the tragic death of 16 staff and the complete destruction of its CBD headquarters, the station lost its equipment, infrastructure, business records and programming. Yet miraculously this small, regional channel was back on air in just under two months. Carolyn Brooke talks to surviving CTV editor Stephen Botting and broadcasting specialist Jef Grobben about hard work, resilience and how to build a television station.

“All of a sudden Despite a heavy workload, often running on empty and plenty of emotional turmoil, CTV CTV lost 16 staff members in the we were a focus of editor Stephen Botting is grateful the channel February 22 earthquake. They are: is back on air after its complete destruction in attention. The CTV Matty (Matthew) Beaumont – branding, the magnitude 6.3 earthquake. Working for a scheduler building collapse television station that went from full operation one day to nothing the next is tough going. Andrew ‘Bish’ Bishop – technical manager, camera, audio manager, editor, director was an icon of the “We only had two cameras that were out of earthquake and this the studio at the time, we had nothing,” Rhys Brookbanks – journalist Stephen says. Sue (Susan) Chuter – sales made rebuilding the Wearing a few different hats is part of the Joanna Didham – sales job at any small broadcaster but Stephen says station even more losing 16 colleagues in one go took it to a Sam (Samuel) Gibb – news producer/journalist important.” whole new level. “You just pick it up because Jo (Joanne) Giles – business development there is no one else to do it.” Stephen says. The manager, presenter nine surviving staff somehow managed to Siwen Huo – presentation scheduler honour a contract to cover a dressage event the weekend after the earthquake. “We still did it. Shawn Lucas – production manager, former We borrowed a deck. One of the editors who presentation director (for many years) died has his own deck but the police had it for Donna Manning – presenter, sales fingerprinting for identification. I had to edit Isaac Thompson – editor, audio, camera, from my computer at home.” director There were immediate talks of rebuilding, Mandy (Amanda) Uriao – sales but it was a few weeks before owners Allied Press made the decision. In between there was Valeri Volnov – IT manager a week of funerals with staff going to two on Murray Wood – manager/co-owner most days. Stephen says he and others were Stephen Wright – marketing keen to get back to work despite the sadness and uncertainty. An offer of a boardroom at Paul Wu – accountant Tait Electronics was gratefully taken up until NZTECHO Spring 2011 | 11

a storage area in the Mainland Press Building (also owned by Allied Press) was identified for CTV’s new home. “All of a sudden we were a focus of attention. The CTV building collapse was an icon of the earthquake and this made rebuilding the station even more important.” A continuous loop of public service information about the quake and CTV, organised by Auckland-based broadcasting specialist Jef vision-switcher package BroadcastPix Granite Top: CTV editor Stephen Botting is grateful that Grobben, played out on the channel’s UHF 2000. Upgraded software includes Cut Pro the station is back on air. frequency from 24 February until 18 April Studio 7 and Adobe CS 5.5. “We have gone Credit: Jabulani Ndebele. when news programming went to air. Stephen from a very workstation-based workflow, to a Above: Filming lifestyle/earthquake recovery says it was a significant move. “Jef put us back network-based workflow. It’s modern while a show City Life with Dave Sandom on camera and Kineta Knight presenting. up on air within days. At the time we didn’t lot of the other stuff was quite old. We’ve got Credit: Stephen Botting. know how it was happening but it was great. better gear than we did before and are much It was good to see there was something there.” more future-proof.” A tapeless workflow is The channel now runs repeated programming now in place and works alongside a media 24/7 with staff onsite 8am to 5pm Monday to server, storage, browser and archive system. Friday. CTV generated content includes daily Stephen says everyone is trucking along and news, lifestyle, shopping and sport shows, having about 13 contractors around helps a although initially programming on loan from lot. Receiving emails from viewers happy to production companies kept it on air. have the channel back are also appreciated by Stephen started with CTV almost six years ago the team, as are the flowers and messages of after working as a technician at Magnum Mac support that are still received. Even baking has and going to broadcasting school. In recent been brought in. “We’ve become a lot closer times he has become somewhat of a technical because of what has happened and what we’ve manager around the place, dealing with daily been through, although it doesn’t seem as issues and teaching staff how to use the new relaxed and fun as it used to. There is still a lot gear. Editing systems include two suites, two of uncertainty. Decisions have to be made and MacBook Pros, two Mac Pros and graphics we still haven’t got all the equipment we need. 12 | NZTECHO Spring 2011

will do, we’ll stick a wall there, one there and one there. We’ll paint it this colour and put some flooring on the floor and we’ll get back on air whatever it was you were broadcasting before.” Getting content to air essentially involves a server, playlist software, an ingest mechanism, scheduling tools and a transmitter, he says. “If you need to just stick something on air then you can do it in a day if you’ve got the bits. But the technology we had to put together had to be sustainable without requiring a huge influx of staff.” An initial challenge was finding a space with adequate ceiling height and power supply for air-conditioning, lighting and other broadcasting equipment. An area in the Mainland Above: The new control room with Stefanie When you don’t know what the future is it’s Banbury and Doug McCammon at work. hard to feel comfortable.” Press building in Harewood, Christchurch Credits: Stephen Botting. proved suitable and a floor plan was drawn Right: Broadcasting specialist Jef Grobben Behind the technical rebuild up with the basic construction completed led the CTV rebuild. Auckland broadcasting specialist Jef Grob- within three weeks. “There were some very Credit: Carolyn Brooke. ben’s involvement with CTV started when good trades people.” The new facilities he organised the loop of information to be include a studio, MCR (master control played on the channel in the days after the room), presentation area, voiceover booth earthquake. He linked it from his Epsom and two edit suits. There are also a couple of play-out facility Broadcast Inc after calling in offices, while the server and news rooms are some help from around the industry includ- shared with Mainland Press. “The thing that ing from Kordia and Sky Television. Like had to get going first for CTV was its news many watching the aftermath roll out on the production, as it was the bulk of its program- news, he wanted to help. The go ahead for ming, that’s what it made it uniquely CTV.” the rebuild was given in early March and Jef When it comes to television, he says, content was tasked with the job by Allied Press. “The should always come first. “Content is king challenge with CTV was that essentially it and carriage is queen.” wasn’t a rebuild; it was cold start of a brand Jef’s nearly 30 years in the industry includes new television station that had a potential helping to start Juice TV, government initia- audience and a traumatised group of staff tive Aotearoa Television, the Documentary and no real business plan,” Jef says. Normally Channel (now owned by BBC) and The Arts you’d do it the other way around building Channel (now owned by Sky TV). He also the facility requirements around a channel helped set up TV3 in the early 90s and co- plan and business model, he says. “Instead we owned post production facilities including kind of went down there and said this space Image Post (now Images and Sound).

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. [email protected] 0800 CAMWORKS (2269 6757) Wellington to wherever - we ship nationwide DOP Equipment Rentals NZTECHO Spring 2011 | 13

The tsunami in Japan impacted on world- “It was rather like wide equipment supplies but Jef drew on his industry contacts to get the goods needed being a short-order including camera, audio, lighting and editing cook of television equipment. Jef is also a collector of old television and broadcasting gear which certainly designers - we could came in handy. Some was hauled out, dusted off and reassembled ready for shipment to do the thing that Christchurch to use in the interim. “I’m not takes four hours to an engineer but a collector of stuff and some of the stuff still has its usefulness.” Timing make and is exquisite the arrival of goods was not always easy nor was reconciling the expectations of staff from at the end, but right what they were used to, to what they would now you’re getting a get in the interim. He learnt to “nod and say yes a lot” but says being as honest as possible poached egg, bacon was most important. “It was rather like being pen next, there were a lot of very brave people and fries.” a short-order cook of television designers - down there. A lot of them didn’t know how we could do the thing that takes four hours affected they were until recently.” Jef says CTV to make and is exquisite at the end, but right is a work in progress and will not be complete now you’re getting a poached egg, bacon until it has the ability to playout (broadcast and fries.” a programme to a network for delivery to an Once staff understood the restraints and saw audience). Live news is on the cards with de- what they had to work with, he says, they had velopments also planned around scheduling, something to focus on. “It’s fair to say they are media management and archiving. He says all heavily traumatised after the earthquake CTV has much potential for the future but and after losing most of their colleagues. With will need financial backing. “I think CTV has the emotional trauma of that and the frustra- an opportunity to become a national brand if tion of not knowing what was going to hap- the shareholders want to take that step.” n

continued from page 5

It takes a bit of time to take the This is the sort of book sting off the truth, and besides you might read in one some of us still have careers to sitting. It’s a great his- look after? tory and nicely handled It’s least revealing of the last – even a retired NZFC 30 years, but then again that’s still bureaucrat gets a wee raw and immediate. You get that turn – it’s about us folk, with history. how the film business works in a small country The movie business will shift once and where we fit in again (as it seems to do every five the greater world of cinema. We reclaim recent talent, Jane Campion, years). Editor Diane Pivac does a Geoff Murphy, Taika Waititi and Len Lye gracing the cover, and this book great job of setting out the way we does it with enormous pride. In a sense it places them back home on the do things in this country: a pattern paepae… A profound history and a sense of the journey, beginnings and of independence, then govern- endings, the pioneers, the delusional and the successes. This book will sit ment involvement, then crash, and well in the tertiary sector. restructure… the pattern repeats up to this day (yet no mention of the recent NZFC ‘review’…) There’s the For those soldiers lost in action you are actually here, if not by name you’re assumption that the arrival of Hollywood is a necessity in a country’s movie there between the pages and lines. You’re in the white bits that haven’t making development. The wealth of it all secured against a low wage been written yet. You’re behind the pictures, holding the reflector or pan- society… Is this what we actually wanted? ning the lamp… That’s you – you made it all happen. Personally I think Don’t Let It Get You was the moment that kicked it all off again but then Ours is an industry where bureaucrats secure careers in arts manage- again Sleeping Dogs is what we all remember. ment with salaries and overseas travel perks, and yet talent still comes from the trenches, where filmmakers camp in their sleeping bags on the I guess my version of film history has little more unease? floor while ‘arts managers’ lounge in US$400-a-night hotel rooms at The index? Not in the ‘A’s either… oh well, life’s like that, eh? n Cannes and AFM… 14 | NZTECHO Spring 2011

RETROSPECTIVE NZTECHO Spring 2011 | 15

50 issues and counting... NZTECHO has made it to 50 Issues. Second editor Tony Forster considers this remarkable fact and shares some recollections. At moments like these, the beginning always seems eons ago… and as if it were yesterday! Camera assistant Tim Pope suggested we could lift the Guild’s profile by regularly publishing a more substantial newsletter than we ever had previously – a magazine in fact. Without Tim, the mag might never have happened. Little did I realize this would be a starting point for a journey of my own. Initially I was asked to supervise – ‘exec produce’ if you like – Tim’s efforts; then I was asked to take over the editorship. Taking over, I found there were many elements of Tim’s style I was keen to develop: a relaxedness, an informal, community-of-friends feeling, serious issues leavened with some lightness, some touches of humour. Over the eight years I was involved with the mag, I was pleased with the way we gradually improved the various elements. The challenge was always finding the appropriate balance (for the time) between improving the ‘professional look’ on the one hand, while on the other, maintaining the sense of personal connection with the readers – to sustain the members’ desire to read with a feeling of belonging to an organisation that cares about its membership as its first priority. For everyone involved, NZTECHO was a part-time role, to be fitted in and around the demands of other priorities. As a result, I never felt absolutely satisfied with any given issue… When I look back, the feedback we received was almost invariably positive – something for which I’m still most grateful. I’d like to reiterate Professional here my appreciation of the support and encouragement we were always given – by readers, by the three EO’s, and particularly by some Lighting committee members. I guess the most satisfying element for me would Services Ltd have to be the mag’s being credited with playing a significant role in the trebling the guild’s membership. In this, Tim’s original dream for the magazine was surely achieved. To the next 50 issues – Cheers! Kinoflo Tony Forster Dedolight Matthews Lowel Chris James Lighting Filters Yellow Jackets Kenro Power Gems Dirty Rigger Gloves

Phone: 09 302 4100 Fax: 09 302 4102 16 | NZTECHO Spring 2011

In focus

Vanishing spectrum Haresh Bhana and Stephen Buckland on behalf of WUNZ (Wireless Users New Zealand) explain ‘Where are Radio Frequencies Going?’ and why it matters. Here are some highlights. Digital TV is set to radically alter the landscape for smaller users of the channels. Even within the radio spectrum. As NZ switches to fully digital TV the band used for radio smaller (8 MHz) bands microphones is being reassigned. Commonly used frequencies for radio taken up by single TV mics must change and – before you wonder ‘do I care?’ – think how widely channels there’s white wireless mics are used… From schools to lecture theatres, boardrooms space for radio mics. Analogue TV – UHF Spectrum and gymnasiums through screen and stage to broadcasters, the changes Digital TV provides quite will be profound. a different picture (see Where are radio frequencies going and what exactly is happening? second figure): A digital The radio spectrum isn’t really vanishing, it is being reassigned. The fre- channel occupies the Digital TV – UHF Spectrum (Future) quencies themselves aren’t going anywhere, but bands of spectrum will be entire chunk of bandwidth: made unavailable to general users or used with different technology (digital leaving no white space at television, and in the future ‘long-term evolution devices’). all. If your radio mic operates in that band of spectrum you have nowhere to go. How has use of the radio spectrum worked till now? Goodbye 700 MHz All smaller users operate under a General User Licence (GUL): A default state, not actual licence, for those outside the big fee paying users (radio, By March 2015 all users – including wireless mics – must clear the television and telecommunications). Operating under a GUL has always 700 MHz band of spectrum: all analogue transmissions will be switched meant accepting limits on transmitter output and bands of spectrum avail- off, digital TV moved to lower bands, and the free space created – the able. It also means an expectation that you will not interfere with use by ‘digital dividend’– put up for auction by the government. WUNZ unsuc- fee-paying broadcasters. cessfully fought to retain the spectrum for general use. Unfortunately the ‘digital dividend’ is seen as a valuable commodity (something that remains Why WUNZ? to be seen, see below), so radio mics operating through 700 MHz will be Until WUNZ, users of the estimated 100,000 radio mics in New Zealand redundant by early 2015. had no input into the Government planning. WUNZ has sought to inform Managing the spectrum the ministry and ultimately to alter the declared government position that: radio mic “users operate on the fringes of the spectrum… don’t pay for a In the USA the 700 MHz band has been closed off since June 2010, licence, [and] therefore their rights are minimal”. WUNZ’s campaign has though to date it remains unused. So, is the ‘digital dividend’ really a valu- won recognition, but uncertainty remains as scheduled changes meet with able commodity, or has this been misjudged? And, why can’t the band technical delays, and updates arrive on an adhoc basis. remain available until it’s actually required for other uses? How does digital TV affect radio mics? Other situations require thoughtful management, for example where many radio mics are used simultaneously – how can conflicting use be Traditional TV broadcasting leaves gaps – ‘white space’ – where typically managed? Currently there is no means of resolving conflict, as general us- radio mics operate. The ‘white space’ is clear (see accompanying figure ers share equal rights. WUNZ looks to support models like that applied to Analogue TV – UHF Spectrum) between the peaks and troughs of TV the Rugby World Cup, involving active management of spectrum use. Looking into the crystal ball: predicting future allocation of spectrum. Radio Regulatory Bodies: Demystifying the bureaucracy WUNZ has projected what future spectrum demand might be. The upshot Ministry of Economic Development (MED) is responsible to Govern- is – because digital channels use twice the spectrum in certain locations ment regarding New Zealand’s radio spectrum via Radio Spectrum – digital looks set to occupy a lion’s share of spectrum: Maori TV and Sky Management (RSM). could occupy 96 MHz for six channels, leaving slim pickings, and major challenges for general users. WUNZ: Wireless Users NZ Short-term silver lining and the unknown future WUNZ formed in response to concerns about the impact of digital TV Until 2013 demand for spectrum will remain unclear. As 700 MHz vacates, on the available radio spectrum for wireless users (radio mics and other availability will actually improve for a while (an Indian summer before post- UHF wireless devices such as follow spot. WUNZ aims to represent digital-TV-winter sets in). In the meantime, all users need to keep informed ‘general users’ (see main article), to ensure future viability for wireless and manage their use carefully. devices on behalf of individual users in the Screen Production Industry and beyond. See the full article at www.nztecho.com. To keep informed and for more WUNZ has achieved a significant hearing for small users, presenting information visit www.wunz.co.nz regularly. specific concerns to Radio Spectrum Management (MED), successfully highlighting the profound and wide-ranging impacts of mismanaging Thanks to Haresh Bhana and Stephen Buckland of WUNZ upon whose spectrum allocation to the exclusion of ‘general-licence’ users. presentation this article is based, and Grant Cummuskey of NZ Video News who provided a transcription of the presentation. NZTECHO Spring 2011 | 17

Point-of-view

No pressure, mate New Zealand holds the dubious honour of being one of the highest ranked countries in the OECD in terms of incidence of bullying and associated bullying culture. Aidan Evans argues it’s something worth thinking about.

When the PSA rep for the National Film Unit in 1948 went in to highest rates in the Western world. There’s only one way to stop it, bargain for a pay scale that reflected the extra hours the filmmakers and that is to say no, right up-front when it starts, preferably as a unified worked and the dangers they encountered – they were graded on a group. It’s surprising how often taking a stand works, and really fairly low-paid clerical scale along with other civil servants – the Prime quickly too. Minster’s office countered that as film makers they were doing work Most of us think of bullies as being big, aggressive and usually male. they enjoyed and that should be reward enough. (Now there’s an Think again. Bullying is about gaining power and control over others idea: not being paid for work because you enjoy doing it…) to get what the bully wants. Sixty years on, the Prime Minister and his Cabinet have worked hard Of course, bullying can include aggression and violence, along with to ensure appropriate legislation is in place with sound safety regula- threats and intimidation. It can also include changing your working tions in force, and fair pay for the long hours often worked by skilled conditions without warning, gossip, spreading rumours, withholding workers in the film industry. Right? information, giving misleading information, subtle harassment, charm, Thought not. humiliation, scapegoating – if it’s behaviour aimed getting control for The Techos’ Guild seems to be forever putting out fires on yet another their own purposes and against your best interests, its called bullying. production, either local or from overseas, where payment to crew is None of us like to see ourselves as being part of a bullying culture, let delayed or never arrives, or long – dangerously long – working hours alone admit to being a target of a bully. Not all bullies are men: half are being demanded, or there are safety issues. (Notice how often are women. Surprised? That’s another fact that has been confirmed they go together?) by a series of studies across many of the OECD countries in the In the last issue of NZTECHO, President Alun Bollinger referred to last 25 years. And targets are chosen not because they have some a TVC shoot that went on for 24+ hours. He asked the not-rhetorical innate weakness, but because they are vulnerable for any one of many question: Why should life and limb be compromised for the sake of reasons: needing to pay a mortgage, pay the rent, feed the kids, need some moving pictures and sound? a reference, need credit for the CV, etc, etc. These people hang in there, accepting the behaviour because they feel they do not have Your life and limb, that is. May I suggest an answer: Because it’s really a choice. about making money, and the workers (aka crew) are expendable. If it’s a stretch to think of New Zealand as being a country with a These situations are recurring too often to be accidental. bullying culture that runs right from the top down, just think of what There’s a considerable amount of goodwill and flexibility within the happened as a result of the industrial action on The Hobbit: changes culture of the NZ screen industry, but the shadow side takes over to our employment law were rushed through under urgency, not to when this is pushed too far and crew are expected to compromise save the movie from being made offshore – Peter Jackson had al- their working conditions and safety. There’s always a baseline of inse- ready let Gerry Brownlee know that was not an issue, and in any case curity – who knows when the next job will be? – and future employ- the dispute with Actors Equity had been settled – but because this ment is government has a commitment to giving employers maximum control often dependent on good word-of-mouth reports between employers. over workers aka crew. So there’s a power imbalance already and crew are vulnerable. As Albol said, crew need to speak up early to set clear expectations There’s a popular conception that New Zealanders are laid-back (who to keep themselves and everyone safe. The good news is that when on a shoot, where minutes equal dollars, can afford to be laid-back?) you do, chances are high that you get what you want – being paid for Yet everyone knows that crew work long, hard hours (“That’s just the doing work you enjoy and keeping yourself and your mates safe. way this industry works, mate, get used to it.”) and that we’re all good mates really (“Everyone else is going to do the extra time so don’t be the one to let us all down, mate.”) No pressure then, mate. There’s a name for this culture: It’s called Workplace Bullying. It’s the shadow culture, and New Zealand is known to have one of the 18 | NZTECHO Spring 2011

NEWS REEL

Screen Sector Work Programme Keep an eye out for schedule and other information from MED/MCH (Ministries of Economic Development, Culture and Heritage, respec- tively) about the Screen Sector Work Programme. A government release promised for this issue was not forthcoming. Until we know more, check out some specific tasks from the SSWP circulated earlier this year: • Identifying further actions in response to Jackson/Court NZFC review • Assessing the effectiveness of financial incentives (LBG and SPIF) • Identifying effectiveness of current institutional arrangements for government-funded screen agencies It’s a Sellabration! at the Film Archive • Assessing the scope and effectiveness of screen training and Check out some classic kiwi adverts from past decades and have a professional development services laugh… www.filmarchive.org.nz/sellebration/ • Review adequacy of NZ physical screen sector infrastructure Council buyout welcomed by studio boss (soundstages…) Auckland Film Studios chairman Ross Jewell says Auckland Council’s • Examine effectiveness of international film co-production treaties. August buy out of the Henderson facility is great news despite uncer- TVNZ Charter goes west, and what of public broadcasting? tainty around its future. The Television New Zealand (TVNZ) Amendment Bill – passed on Auckland Council paid $1.5m for 57% of the studios used to shoot Xena: 12 July, abolishing the TVNZ charter – was the death-knell for NZ public Warrior Princess, Legend of the Seeker, Narnia – The Lion, The Witch and service broadcasting, following the axing of TVNZ 7 earlier this year. The Wardrobe and Prince Caspian, after joint venture shareholders Tony New Zealand is now the only country in the OECD that lacks an ongoing Tay Film went into receivership. “I’m extremely positive… We’ve got more free-to-air public service TV broadcast. To add insult to injury, pay- flexibility so it’s definitely a good move,” Jewell says. broadcasters, like SKY TV, are not compelled to contribute a portion of SINZ Political Forum highlights values divide on screen their profits toward production of local content. Levies of this sort are industry policy standard in other countries… Election forum (Auckland Sep 5) heard from MPs from National, Labour, NZ on Screen – Screentalk Interviews Greens and the Maori party. Have you checked out the wealth of interviews Only the Greens invited actual policy scrutiny – 2008 screen and at www.nzonscreen.com lately? broadcasting policies standing unchanged. Striking division was clear International success story – and Guild mem- between the government and other parties on public broadcasting, and ber – Stuart Dryburgh’s latest interview ‘good, the importance of actively supporting NZ culture, government favouring old-fashioned camera tricks’ posted in July is market forces. well worth a watch. Other Guild members with great stories on the site include cinematographers Waka Attewell and For more on selected news items see www.nztecho.com Leon Narbey plus gaffer Annie Frear.

For all your Physical Effects Requirements

166 Railside Ave, Henderson, Auckland. Tel: +64 9 837 8641 www.filmfx.co.nz NZTECHO Spring 2011 | 19

EXTREME CLOSE-UP

PROFILE: ZARA HAYDEN – Exec Member / Production Manager Zara absolutely loves her job. For her, workmates are a big part of it “most days, I go to work, look around, and see a group of my favourite friends. I love the camaraderie of being part of a crew.” “I love NZ’s hard work ethic, and our team spirit, and our physical strength, and our ingenuity. It brings me much joy to arrive on set in the early morning and see a crew of fantastic people doing cool things together. I love that a crew consists of a diverse group – ranging from very artistic to very practical.” She sees being part of a crew as a “wonderful life for a voyeur… Always looking into someone else’s life… someone’s home, or job… [seeing] the back of airports, the inside of the military, into the studios of TVNZ, or meeting some geezers at a local bowling club. The work brings very diverse experiences. Every workday is different… “the job involves equal amounts of time in the office, and time on-set… Time dressing up, and time dressing down [and getting to] visit some very beautiful and interesting parts of New Zealand.” Zara started in screen production 15 years ago – having “a couple of useless degrees (MA Eng Lit)” from university – at Flying Start Pictures as receptionist. She thanks Amanda Langkilde who got her an interview from where it all began. She recalls “a ‘light bulb moment’ that I wanted to work in the industry.” She was in a job she “was hating, and had this revelation that I wanted in to film and TV”. She says it shouldn’t have been such a revelation Above: Zara working on set. with then partner and friends in the industry. Needing to get a foot in the door, meant taking “almost any job to get in. So, hello reception!” Zara agrees with recent profile subjects in not seeing much of an Following Flying Start was PA (Production Assistant) at Digital Mas- increase rates over her time in production. She feels fortunate to have ters. Next up was a year in facilities/producing at Liquid Studios (audio been working for long enough to have advanced up the skill ladder, and music composition, newly starting up)… Then off to Melbourne to commanding a better daily rate than some more junior crew. work as a producer in a post-production house. Being “no slacker on the computer” herself, Zara is “often wowed by “It was a lousy time to be in the screen industry in Australia: the sec- how fast young people are on computers. Vince McMillan particularly ond year following the introduction of GST, the end of Olympics year springs to mind, the Automatic directors’ assistant. And my sister, a (budgets had been spent), the remaining work was going to Sydney production coordinator who’s 10 years younger than me.” and there was new deregulation of overseas [quotas] – so there was Zara does see room for improvement “I’d love to see better sustain- not much shooting in Melbourne. Just re-doing audio, and adding new ability practices. I’d like crew to bring their own cups and water bottles end tags to American TVCs.” to work. I’d love to see recycling of paper and food scraps.” Though Zara left the Aussie job “before I was fired”, returning to New Zealand she “love[s] the intensity of working hard” she’s “really unhappy with where she made “a concerted effort to work up the production side of the ‘looooong’ days and level of exhaustion that crew are faced with. the ladder… runner, PA, coordinator – the usual pathway.” She name Particularly in the summer season, when we have those – fantastic checks Mark Foster and Blu Steven as two of the first people to give and crazy – line productions going through. I personally hate to be her work in production. completely exhausted – it means I can’t do my job properly which feels bad”. These days Zara works almost entirely, and happily, in the TVC sector, enjoying the short duration. She feels very fortunate to “make all my She does wish “crew [would] remember that Production are actually income from the industry” getting “lucky with a role that is often in part of the team, not the enemy – haha!”. Sometimes she says “it feels demand.” She adds “it’s a bit of an odd role… a successful job judged like a gilded cage, as there’s no doubt it’s easy to let the industry own upon things that don’t go wrong.” If the job goes smoothly, and things you when the work is abundant and frantic. But I absolutely love it”. don’t go wrong, that’s the marker that leaves her pleased with her work. 20 | NZTECHO Spring 2011

MEMBERS WITH BENEFITS Interislander discount: Save yourself and the production precious cash!

Take advantage of the Techos’ Guild Group Booking discounts on the Interislander. (By the way you don’t have to be booking a group to get a discount – the group referred to is the Guild!) Don’t forget to use your discount on the job. Tell the PM/PC that your membership saves them money, and ensure your booking is made using your membership number and code. Guild discounts are considerable, and can extend to other people and vehicles who book and travel with you (book by phone to discuss). Don’t forget to take your membership card with The three-hour 92 km Interis- you when you travel! To protect this discount for members, your card lander journey is one of New is now requested when boarding the ferry. Zealand’s most iconic tourism Book direct only, online: activities, and a regular mode www.interislander.co.nz/Booking/Group-Bookings.aspx ‘FA5361’ of transport between the North and South Islands. Phone 0800 878-898 Interislander operates three Please note: membership card will be requested at check-in. ships, the Kaitaki, Arahura and Aratere, for you and your Example fares: vehicle. Up to 11 sailings Off-peak (01 Aug–07 Sep / 18–20 Oct / 26 Oct–15 Dec) a day. Fare type Price each way For extra comfort try Premium Plus, Interislander’s premium Adult (30% off best websaver fare) $39.00 lounge onboard Kaitaki and Vehicle up to 5.5m (car/van/trailer) $122.00 Aratere – the most comfortable Vehicle < 5.5m, < 3.5 tons (light truck) $ 227.00 and luxurious way to cross Cook Strait. A Premium Plus ticket allows passengers to access a private lounge which includes comfortable seating, free internet access, Sky TV, newspapers and magazines, Peak (08 Sep–17 Oct, 21–25 Oct, 16 Dec-Jan) complimentary beer, wine, tea, coffee and finger food. Passengers can Fare type Price each way upgrade at the Wellington or Picton terminals or at reception onboard Adult $46.00 the ship. Alternatively, you can purchase the upgrade at www.interislander.co.nz Vehicle up to 5.5m (car/van/trailer) $140.00 Taking a vehicle with Interislander is as easy as parking in a car park Vehicle < 5.5m, < 3.5 tons (light truck) $ 227.00 building – just drive on and drive off. As well as the travel convenience Rates for commercial vehicles: $92.93 per lane metre – phone of taking a vehicle between the two islands, passengers with vehicles do not have any luggage restrictions. 0800 660-670. NZTECHO Spring 2011 | 21

NEW MEMBERS NATIONAL EXECUTIVE Join us in giving the following new members a hearty welcome! BOARD Auckland Wellington President Dion Boothby, art James Elliston, camera Alun Bollinger 03 732 8123 Mickaele Evans, grips Jessica Charlton, camera Vice President Janne Harwood, locations Tristan Maxwell, lighting Sioux MacDonald 021 969 609 Kate Fraser, other Treasurer Brendon Durey 021 866 977

Auckland Chair (interim) Brendon Durey 021 866 977 Wellington Chair Dave Brown 0274 774771 Queenstown Chair Make friends. Josh Dunn 021 229 1603

Influence people. Members Zara Hayden 021 315 102 Dot Kyle 021 210 1579 Join the Guild. Jules Lovelock 021 682 801 Brett Mills 029 9326 685 Murray Milne 0274 422150 Axel Paton 027 2899 559 Ken Saville 0274 448 123 Nick Treacy 021 280 8950

TECHOS’ GUILD OFFICE

Fritha Stalker, Executive Officer Carolyn Brooke, Accounts Officer

Tel: 09 302 2022 0800 TECHOS (0800 832 467) Fax: 09 302 2025 Address: 4E Macauley St, PO Box 68-294, Newton, Auckland 1145 [email protected] [email protected] [email protected] www.nztecho.com And bathe in the warm glow that comes from being part of a movement that has successfully campaigned for fair and safe working conditions Techos’ Guild office hours for all techos since 1986. Monday to Friday, 9am to 3pm Outside these hours, please leave a You’ll get some darned good discounts on goods and services too! phone message or email us. Join the Guild online today: www.nztecho.com 110901_f65_nztecho.pdf 6/09/2011 2:02:48 p.m.

22 | NZTECHO Spring 2011

CMY