SUMMER 2012 | ISSUE 55

NZTECHOThe Film and Video Technicians’ quarterly

Making movies then and now – still no I in team TV digital changeover hitting our airwaves Are we actually addicted to this industry?

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Film Specialists Tom Hotere 0272 614 195 or Craig McIntosh 0275 878 063 Rental Vehicles Marianne Dyer 0275 542 506 or Craig Booth 0274 919 027 Film experience that EDITORIAL CONTENTS It never fails to surprise me how much people do for free in this industry. GUILD NEWS & VIEWS I’m not just talking small budget projects and ‘one-offs’ for students or puts us in the picture... mates. It’s bigger than that. Actually, in many ways, ‘freebies’ keep the 2 Behind the scenes Executive officer Karla Rodgers – one year on! Techos’ Guild going. Ironic really when one of our core objectives is advocating for fair pay. 3 President’s rave Pres Alun ‘Albol’ Bollinger’ rounds off the year But it’s inspiring, those who willingly (and happily) put time and effort into pushing our Guild forward. Among those are our president, vice president, INDUSTRY Elevated Work Platforms & Scaffold executive committee and branch committees along with others in the indus- 6 Getting back to basics try, like some of the bigger production companies (you know who you are) Why good communication remains fundamental to filmmaking who give time, money and support. Even us on the Guild’s payroll (executive 10 Time to ‘freq’ out officer Karla Rodgers and myself), put in many more hours than we actually Implications of the digital switchover get paid for. It just sort of comes with the territory. 14 Addicted to the industry! Vehicle Rental The ‘Behind the DoP’ workshops were held across the country in October Research on why we love and hate our jobs and November, a prime example of good people making things happen. 15 Regional wrap What a delight it was to hear from Alun Bollinger on some of the issues 20 News reel with shooting Goodbye Pork Pie, it’d sure be a logistical nightmare to do now! Great also were the workshop highlights from fellow DoP TECHOSPHERE Simon Raby. 4 Fine print: Understanding liability Nick Treacy North Island Vehicle Rental Our second feature is another illustration of voluntary efforts. Wireless Users 5 Extreme close-up: New Zealand (WUNZ) is a voluntary organisation aiming to raise awareness 16 Point-of-view: Being competitive and red lights about the threat posed to radio mic users with the analogue to digital TV 17 Upskill: Moving up to 3D changeover. 18 Overheads: Accounting for per diems It seems we have a pattern here. 20 Gold stars and chocolate fish

Lou Taylor shares with us about a voluntary project she is working on to Portable Toilets & Showers help techos keep up with their counterparts, only in a division of terms of 3D technology that is. Psychologist Jocelyn Handy tells us about our industry’s extreme highs and lows. It’s common that many attempts are made before a person actually successfully gives up this industry, addiction perhaps? Marquee & Event Hire NZTECHO issue 55 for summer 2012 is itself an example of many hands helping out. I thank all who contributed to this issue, in particular Nick Treacy and Alun Bollinger. A special thanks also to our designer Justin Westgate who does wonders with what he is given. Cover shot: Tony Barry and Kelly Johnson playing John and Gerry in ’s Goodbye Pork Generators & Pumps Pie feature on Cinema Papers magazine. Photo courtesy Alun Bollinger/personal archive. Merry Christmas for now.

ISSUE 55 SUMMER 2012 Carolyn Brooke, acting editor Editor Advertising Carolyn Brooke Advertising queries, please contact Karla Rodgers on 09 302 2202, Publisher/advertising [email protected] or 0800 TECHOS. For a copy of our ad specs Karla Rodgers and rate card, please visit our website. Design Justin Westgate / biote www.hirepool.co.nz Printing All contents are copyright New Zealand Film and Video TP Printing Services Ltd. Technicians’ Guild, 2012, unless indicated otherwise. May not be reproduced, copied or transmitted in any form without permission. For more information, contact: Contributors Alun ‘Albol’ Bollinger The views expressed in this publication do not necessarily reflect the We appreciate Tim Riley views of the New Zealand Film and Video Technicians’ Guild. Film Specialists Tom Hotere 0272 614 195 or Craig McIntosh 0275 878 063 Nick Treacy Rental Vehicles Marianne Dyer 0275 542 506 or Craig Booth 0274 919 027 the support of: Jocelyn Handy Joshua Dunn Sioux Macdonald Graeme Tuckett Neil Cervin Michael Williams Lou Taylor Phil Gore www.nztecho.com 2 | NZTECHO Summer 2012

BEHIND THE SCENES With over 20 years in the film industry, Karla Rodgers is now executive officer for the Techos’ Guild. A year in the making Kia ora all. On 1 February 2012 I officially became the executive officer of discounts and services and businesses get the benefit of our member the New Zealand Film and Video Technicians’ Guild, at the same time the support – everyone walks away with a balloon. Guild’s office left Macaulay Street and became remote. So here we are at Call and offer your time – it doesn’t have to be hours of work, it might just the end of December 2012 and what a difference a year makes. be one small task and responsibility. It has in fact been a very positive year for the Guild, disregarding the So as I sign out for the year, I wish everyone a safe and happy holiday challenges that the new immigration legislation has thrown in our path, and season. Remember your sun-block and don’t take it all too seriously. n for all those interested, this is still major with far reaching implications. But as a guild we have grown. We welcome 50 new members! Annual general meeting report We pitched and secured funding from the New Zealand Film Commission Annual AGM meetings were held in Auckland, Wellington and for four nationally run workshops – and the response to the first of these has Queenstown on 14 November 2012. been overwhelming positive. The unanimous feedback, “bring it on – Nominations are as follow: we want more.” National president: Alun Bollinger We have more member benefits and there’s more to come. So check your Vice president: Sioux Macdonald rushes emails to ensure you keep up to date Auckland committee: Nick Treacy (chair), Brendon Durey (treasurer), We have continued to retain work for New Zealand citizens and residents Dot Kyle, Murray Milne, Sioux Macdonald, Lou Taylor, Ben Vanderpoel even though the new immigration legislation is now not geared in our favour. (new committee member), Mark Messenger (new committee member) Unchecked by the Guild some of this work would have gone to foreign and James Newman. technicians. Wellington committee: Richard Bluck (chair), Jen Metcalfe (branch sec- retary), Roger Feenstra, Sally Cunningham, Adrian Hebron, Ken Saville, We have managed to thwart the odd ‘dodgy’ immigration application and Belindalee Hope and Dave Brown. support the legitimate applications which have brought great work and Queenstown committee: Mark Gillings (chair), Brett Mills, Jamie Couper, productions into the country. Joshua Dunn, Thom Watson, Narelle Wilson, Harry Whitehurst and Rachel We have received financial support from a number of production compa- Kinsella. nies who stand by and support the Guild, particularly when it comes to the National executive committee: Alun Bollinger, Sioux Macdonald, Mark Safety Code of Practice and The Blue Book. This is always encouraging, as Gillings, Brendon Durey, Brett Mills, Murray Milne, Doty Kyle, Nick Treacy, it confirms that there are many good productions working together with us. Lou Taylor, Mark Messenger and Alex Paton. So here we are now. Christmas is just around the corner, so from Santa Minutes from each branch AGM available on request. this year – the executive officer (and I think she’s been good) is asking in Thanks to all the above listed members for putting a hand up for the 2013 that Guild members make a little more effort to build and support Techos’ Guild. their organisation. Encourage one other technician to join the Guild. Think about member benefits, as members we get access to some great NZTECHO Summer 2012 | 3

PRESIDENT’S RAVE Award-winning cinematographer and committed West Coaster, Alun Bollinger has been president of the Techos’ Guild for an age. Busy end to the year it is then! 2012 is nearing the end and our Techos’ Guild office is as busy as ever, if Even though the commercial scene seems to be steadily diminishing, not more so. Auckland remains the main hub of our industry with a lot of television series Firstly, hats off to our executive officerKarla Rodgers! Her ongoing efforts work, while Wellington generally goes from one major production to noth- for our Guild are showing in increasing membership numbers and more ing, with the occasional ‘little film’ and waiting for another major production benefits for members. Not least to mention the first lot of a series of four to come to town. Guild workshops went off without a hitch. Thanks also to Carolyn Brooke And what have I been up to this year? I shot a little Kiwi feature film (digital) for her efforts with NZTECHO, it seems to get better with every edition. early in the year. I took a trip to Ireland and London shooting a wee freebie As you may be aware, Karla managed to acquire funds from the New doco. And talked about all sorts of ideas and schemes, but one never Zealand Film Commission to run the previously mentioned workshops. knows what will come to fruition. Take advantage of them because they may be the first and last, we just One feature film project which I was looking forward to shooting next year never know in this industry. has fallen over, for now, but I’m sure I’ll be busy enough come 2013. In fact In the application for funding Karla pointed out the number of creative I’m due to reach retirement age in 2013 so I might just retire! technicians (Karla’s phrase) who have won Oscars, and there are quite I’ve also done a bit of tutoring at Southern Institute of Technology (SIT) in a few – heaps in fact. The workshops are on a range of subjects with in the Media Studies department. They run a no-fees course a view to broadening discussion and facilitating inter-departmental there which I truly believe is the way tertiary education should be. It understanding. Well that’s my take on the workshops. The DoP lead concerns me that we are bringing a generation of young people into the one, ‘Behind the DoP’, which Simon Raby, Karla and I ran in Auckland, world of work already burdened with student loan debt. I can’t see that this Wellington and Queenstown. system serves anyone other than the banks. The trickiest stuff for the Guild (Karla) to deal with over the past year must I’m inclined to continue my connection with SIT because of its no fees surely have been immigration issues. Since this Government changed the policy. immigration laws and processes earlier this year, we have found immigra- Back to the Guild for a moment, since Karla took over as executive officer tion issues still occupy much of Karla’s time even though we are now she has put a lot of effort into raising awareness of the Guild’s work and unable to charge for a lot of it. thereby raising our membership numbers. She has also managed to score Dave Madigan can take considerable credit for fine tuning and maintaining some more special deals for members. the system in the past, which was working fine. Sure there was the need We seem to be constantly sailing close to the wind financially. Hopefully for negotiation at times but it worked and we generally knew what was our membership numbers will continue to increase since this is the Guild’s going on in our industry. Now it’s much more difficult to keep track of what main source of income, fingers crossed and all power to Karla’s ongoing work is coming into the country and some producers are looking for ways efforts in that regard. to circumvent the work-visa application process altogether. The immigra- Catch you all next year! n tion processes are to be reviewed in September next year. We will have to be well prepared with our submission in the hope of changing processes. Work continues to fluctuate, as it does in our industry.The Hobbit is taking a break from shooting while the first of the three films is prepared for release. The dash to release date is over and prep on the next shoot can begin. 4 | NZTECHO Summer 2012

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

Liability – is it simple, stupid? What happens if you are shooting a show or a film and you’re asked to do something stupid or even worse – illegal? Then you get caught and find yourself in at the deep end. While there may be comebacks in some situations, Tim Riley says if it seems like a bad idea then it probably is… Say you are shooting a TV comedy show for a major network and the and director told you to get in a car and go to the airport and do your job. producer asks you do to something really stupid like, I don’t know, film the But innocence of the law is no excuse as the old adage goes, and as your talent as he dresses up as a pilot and tries to enter the secure area of a parents have probably said to you when you were a kid – “if someone told major airport? And let’s make it even dumber. How about if the producer you to go and jump off a cliff, you wouldn’t do it would you?” wants to film this hilarious gag during a major international sporting event There will be some breaches of civil law where the production company, when airport security is even tighter than it usually is? And when, surprise or someone else, would be regarded as the liable party rather than an surprise, the stunt doesn’t go down well and you get arrested, can you rely individual. For example, in a breach of privacy situation, if the cameraman on that old Nazi excuse that you were just following orders? was told by the producer to film something that ultimately involved a claim Or let’s say (hypothetically) you are wrangling animals on a big budget of breach of privacy, it would be the production company that got sued, studio production and you become aware that the ‘farm’ where they are rather than the individual cameraman. Or if a city street was blocked and being housed has so many hazards it actually appears to be a purpose- used to film a car chase without obtaining the appropriate consents, it built facility for killing and maiming animals. Once the death toll starts would be the production company that would bear the responsibility rather hitting the kind of numbers you get in an average orc versus dwarf battle, than any individuals involved (although the locations manager may well find what are your responsibilities? themselves out of a job pretty quickly). These are difficult and serious questions. On any given film set there are Ultimately, like many things in life, working out if you could be person- a plethora of laws, both civil and criminal, that govern the conduct and ally liable for something is a matter of common sense. Criminal laws are actions of the people working on the production. And the issue we are directed at individuals and, for the types of offences we are talking about, looking at is who is liable if any of these laws are broken? don’t depend on your state of mind. If you do something that is prescribed The answer to that question is – it depends. However, as a working as- by the criminal law, you are liable whether you believed it was okay or not, sumption it is safe to assume that if you have broken a criminal law, you will or whether you were doing it in the course of carrying out your job or not. be personally liable for it, even if you are only in that place doing that thing Doesn’t mean there aren’t defences but just that following orders is not because you were told to by the person who hired you. one of them. It is a criminal offence to impersonate a pilot and attempt to gain entry to However, the fact that you may be personally liable does not mean you a secure area in an airport. I don’t know what the precise section in the don’t have remedies against the people that put you there. Most contracts Crimes Act that covers this is, you can look it up if you are really interested, that you have with the company or person you are providing services but take my word on it this is a crime. It is also a criminal offence to con- to, will have warranties or other liability provisions that will enable you to spire to, or to aid and abet, an attempt to do this. So it’s not just the talent obtain redress if you are led into harm’s way or required to do something actually committing the act who can be criminally liable, but the crew who that turns out to be illegal. But not all contracts! So maybe get some legal are there filming and helping to make it happen. This may seem harsh if you advice before signing your next contract for services!! Just saying… n are say the sound recordist. You just turned up for work and the producer

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EXTREME CLOSE-UP

PROFILE: Nick Treacy – sound (also Techos’ Guild national executive member and Auckland branch chair) How long have you been in screen production and how did you get started? I have been involved in sound for about 19 years now. Whilst chasing the dream of a career in music I got a job as a roadie. I helped out in every department and worked my way to side of stage monitor engineer and then front of house engineer in everything from small pubs to stadiums. An opportunity led to a move indoors as studio recording engineer covering off 1993 to 2000, which then led me back outdoors again doing field recordings of traditional Polynesian music. At that time I met a documentary filmmaker who lured me over to TV and documentary work, and I have been doing that ever since. What genre(s) does your work tend to come from? I tend to stay within the broadcast TV and documentary side of things. Smaller budget commercials and a bit of non-broadcast corporate work will come my way from time to time. Small, agile, flexible crew situations are where I fit best. Friendly cheetah and Nick in South Africa for The Zoo program.

How easy is it to make a living in this industry/how often staff right through to the crew on set we find ways to get the job done. do you work outside the screen production industry? More long-term investment into the industry to keep a consistent level of Making a living in this industry is not as easy as it could be due to production ticking along would be a positive move. We have the skills external influences on whether you have work one day to the next, but so all we need is the investment. Productions have to be made some- you can make a living and have heaps of unique experiences along where by someone so what better place than here in New Zealand. the way. How does your department work as part of the ‘whole’ that other crew probably don’t realise? It’s been said that “no one notices good sound, but they notice bad sound”. I believe bad sound lets the entire project down. So if a soundie asks for help dealing with noise, it’s because they are trying to make your work look good and not because they are trying to be a pain in the butt, even though it can seem like it at the time. How have your rates changed/improved over the years? I have always tried to run my financial affairs in a business manor, but this industry really makes it hard sometimes. Whilst I have managed to make a living I would still say anecdotally that rates have not risen much at all over the last 10 years and in some areas they have gone backwards. What sort of changes have you noticed? Have you noticed any trends? New technology seems to arrive almost weekly and the reducing price point at which that technology can be sourced makes it a more acces- sible industry. Younger crew are being given a chance to pitch them- selves alongside the more established operators but this has created a trend in some quarters to value a project based on the price of the equipment being used over the skill of the person operating it. I would like to see more mentoring occur, as this is a very collaborative indus- try so the sharing of knowledge can only lead to better outcomes. What strengths do you think the New Zealand industry has /what could contribute to a more sustainable industry? Our biggest strength is adaptability. Our people always seem to be able to step up and deliver what that job requires, from the production 6 | NZTECHO Summer 2012

FEATURE Getting back to basics Despite huge advances in filmmaking technology and equipment, making movies often still comes down to the basics. The ‘Behind the DoP’ workshops held across the country recently focused on the importance of crew communication, collaboration and practicality, without which films like Kiwi classic Goodbye Pork Pie would not have been made. Carolyn Brooke went along to hear what cinematographers Alun Bollinger and Simon Raby had to say. “We got a lot done A bit of quality one-on-one with the director vision when it comes down to it – I think a lot early on is a must for cinematographer Alun of us on the crew are interpreters.” with a small crew Bollinger. Resourcefulness is another key element of over seven weeks, Communication, it’s how he gets the ball Kiwi filmmaking. Working with what is rolling. around you. None more so than in Goodbye travelling from one For 1981’s Goodbye Pork Pie it was driving Pork Pie where the crew took on many roles, end of the country the entire length of the country with Geoff including Murphy, who was also the mechanic Murphy scoping out locations, albeit Murphy and a set builder. to the other.” was his flatmate at the time. “We did some things which we wouldn’t “The germ of the idea for the film came from dream of doing now,” Bollinger says. “We got a mate of Martyn Sanderson’s who turned a lot done with a small crew over seven weeks, up having hitchhiked down from Auckland, travelling from one end of the country to the he told us this story about a lift he’d got with other.” There was also a bit of back-tracking as these two guys who would pull into get petrol the Haast Pass was closed that year. then sell the spare tyre,” Bollinger says. “At When a stuntie rolled the mini needed for a some stage he’d flicked open the glove box and particular scene (there were three minis with discovered he was in a rental car, they were just various forms of damage), the crew pieced selling bits of the car and obviously weren’t filming around what could be done without planning on taking it back.” the car while the director fixed the car. The Nearly 30 years on, for the 2010 feature day was shot totally out of sequence. Matariki, Bollinger spent three days at his West “We’d set up the scene, rehearse it and then Coast bach with director Michael Bennett, we’d call Geoff and then he’d go back to fixing living in the bush and talking about the movie. the car,” he says. “You’re trying to establish a good basis of “I always remember after looking at the rush- communication,” he says. es for that scene a couple of days later, Geoff “Basically you’re interpreting the director’s and I were looking at each other thinking, yes NZTECHO Summer 2012 | 7

we’ve got it but you could kind of tell the rest Always give accurate time estimations (not Top left: Wellington city street chase with of the crew couldn’t actually make sense of it.” too much and not too little) to a 1st AD – they stunt driver Peter Zivkovic driving. Likely to be Tony Barry (actor) beside him in the front will take you at your word and are working Team collaboration really starts with reading passenger’s seat and Claire Oberman (actor) the script, Bollinger says. It’s not just feeling across all departments. in the back seat. out challenges you may be facing but also the Everyone has their rightful place. Remem- Top right: Producer Nigel Hutchinson and possible issues for other departments. bering that everyone on set is important and gaffer Stuart Dryburgh ponder on set. “On that first read, you are the audience but deserves respect for what they do also helps. Bottom left: Goodbye Pork Pie crew after the cop car was driven (by the director) into Lake on the second read, you’re reading to see what “As DoP I would be the highest paid person Lanthe (...or was it Lake Mapouriki?) on the the challenges are. If you’re a designer you’re in the camera department, but when we’re West Coast. Left to right: Tony Barry (actor), going to read the script with quite a differ- shooting film, I never actually even touch the Alistair Barry (key grip), Stephen Tozer (actor), ent slant to a make-up person, who might be stuff. It’s the clapper loader who unloads it, Don Reynolds (sound), Mat Murphy (art dept), thinking there is a lot of prosthetics in this one of the lowest paid people in the camera Geoff Murphy (director), Francis Edmond shoot.” (actor), John Day (focus), early model 35mm department,” he says. “This film is now gold, BL Arriflex (camera), Graham Cowley (camera Everyone has their specialist task but don’t once it’s got pictures on it, and they then give op) and Alun Bollinger (DoP). assume yours is the most important, he says. it to the runner, one of the other lowest paid Bottom right: Filming a shot for Goodbye Pork Appreciate others, try to get an understand- people on set. Those two people are just as Pie (1979). Cinematographer Alun Bollinger ing of what they do, even if it’s just a wander important as I am in the process.” (far right), gaffer Stuart Dryburgh (second around a different department. from right), Don Blakeney (in yellow t-shirt) Understanding that production has a tough job and key grip Alistair Barry (driving). Produc- “I can’t get my head around how you would putting resources where they’re most needed, tion Company ANA, director Geoff Murphy. schedule a movie – I just don’t know how they will help you to understand the importance of Photos courtesy NZ Film Commission. do it.” not asking for more than you need. 8 | NZTECHO Summer 2012

Problem solving is also about being practi- cal and often the best suggestions come from other crew members, Bollinger says. So listen to others and don’t be afraid to speak up either. If something is disrupting filming, it’s every- one’s problem – it’s not just the boomie’s problem because it’s his shadow. Sometimes a compromise is needed and some- times it can actually enhance the scene, he says. “But the problem if you don’t sort out your compromises before the shoot, is that stuff just gets chopped,” Bollinger says. “It can get peeled back to the basic plot line whereas you need room to develop character and contrast.” Problem solving of course ideally happens in pre-production but the reality is budgets and schedules don’t always allow for it. A budget will largely control the production, it doesn’t define the project. “I often relate filmmaking to architecture,” he says. “Most of it is mediocre, some of it is really classy and some is complete crap.”

Left: Some of Alun Bollinger’s script and storyboards from Goodbye Pork Pie. One-one-one with a director before a film is important to Bollinger and he encourages them to scribble their ideas down. “I will encourage the director to show me everything,” he says. “Even if it’s just stick figures, it gives me a feeling and you get an impression of where they are going with the scene.”

From the floor For one exercise at the workshops, we got folks into groups to figure out what resources you’d need from all departments, to shoot the chase scene through the streets of Wellington from Goodbye Pork Pie, through the railway station and onto the train. An interesting compari- son between then and now, but it also brought up some pertinent points about how such a scene can be most efficiently achieved on a limited budget. Of course the city was basically closed on a Sunday back in 1979. Simon came up with some interesting physical games which tested concepts of team-work. We talked a lot. We fielded questions and fol- lowed interesting lines of discussion, including discussions about how crew and equipment suppliers support low budget film making and just how sustainable, or otherwise, that can be. And we showed a few clips for the purposes of illustration. cinematographer’s perspective, ‘Mise en Scene’, from design ‘What’s I do hope those who attended found them useful. The overarching Real and What’s Not’ from digital post and ‘Let’s Really Understand’ is purpose of these workshops, as I see them, is to enhance communica- about The Blue Book, health and safety and Maori protocol. tions among crew, between all departments. We work in a communica- We need to be able to build ways to improve communications within tions business and the key to getting it working well is communication. our industry, not just on the job but behind the scenes too, so we as an Each of the workshops approaches these communications from industry don’t embarrass ourselves in public too often. the perspective of a particular dept like ‘Behind the DoP’, from the Albol NZTECHO Summer 2012 | 9

Simon Raby and Alun Bollinger talking shop at Behind the DoP workshop in Auckland.

Behind the DoP – more than meets the lens Unity of crew, attitude and being engaged in the project were also themes of the ‘Behind the DoP’ workshops. Never forget we are working towards the same goal, says Simon Raby.

It starts with respecting the director’s vision and direction, says started to overheat. You’d have to take the heads off again to give Simon Raby. This is hugely important, regardless of whether you’re them a breather and then it’d be another hour before you could get working with an experienced director or a new one. the heads back on.” “I’ve had situations where I’ve wanted to resist the director’s vision Arguments do happen on set and sometimes for good reason. But because I didn’t feel it was right, but I’ve had to step back and say always think about the reasons you’re arguing for, Raby says, is it for ‘we are making their movie, not my movie’,” he says. the good of you, your team or the production? “Some people try to steer a director into a pattern that they’re used to.” While defending your team is a valid place to be, the argument We should all be helping the director tell the story the way he or she should always be about the good of the project. wants to. Don’t finger point or shift blame either, he says. Own your mistakes. Things change on set all the time, he says, including the director’s The importance of keeping noise levels down on set can be forgot- mind and you must trust the director’s decisions. “As a creative, trust- ten, Raby says. Having a laugh with your colleagues is okay, but ing your instinct is essential,” he says. “Bear with it, as it’s part of the keep focussed on the job. creative process and part of being engaged with the project.” “It’s very difficult for an actor to get into their space when everyone is Being constrained by realities is not always a good thing for a joking around,” he says. director, he says. Athough sooner or later you do have to come back “Someone fiddling around in the background is incredibly distracting.” to reality. While actors often get a bad rap for having egos, never forget that It’s important also that while the director needs to be respected, they they are absolutely essential to the film making process. Actors shouldn’t be unapproachable – no matter the size of the production. deserve respect too, Raby says. “Actors will usually be reasonable if “In a seemingly chaotic world, we can put things together very you just talk things through with them, they need to trust that you’re quickly – because there’s a chain of command,” Raby says. going to do a good job.” “When I was doing Lord of the Rings, it would take 45 minutes to get Respecting an actor’s work space is also important. “Actors are es- the heads on all the extras in some of the orc scenes and once they sentially working with their emotions,” he says. were ready to go then we only had another 15 minutes before they “Sometime you want to allow them to just keep their bubble in place.” 10 | NZTECHO Summer 2012

CLOSE-UP Time to freq out?

The digital switchover is here! You would’ve seen the ads on TV – the ones with the robot dog and kid telling you not to worry. Sound recordist Nick Treacy tells us that issues around the analogue to digital TV transmission switchover go beyond just buying a new TV.

If you are one of the 100,000+ users of Ultra The frequencies we rely on currently to trans- High Frequency (UHF) wireless technology in mit our signals in film and TV production will New Zealand then perhaps there is something be taken by the broadcasters of digital TV and to worry about. the telecommunications industry. We will The frequencies You may not realise but the use of wireless essentially be… cut off. microphones and transmitters is far and wide, Our country as a reliable destination for we rely on currently from major sport events to schools halls to foreign film and TV production may be at to transmit our guided walking tours. threat as overseas UHF radio technology may Wireless microphones and transmitters come not work here. signals in film and in all shapes and sizes from lapel mics for talent Other international visitors like big concerts TV production will and interview subjects to directors coms for or stage productions will face similar issues. monitoring sound during a take or playback. Major events like premieres of be taken by the They also get used in concerts for vocals mics, films, America’s Cup or the Rugby World Cup in ear monitors, in wireless feeds from instru- wouldn’t be immune either. broadcasters of ments, by match officials in sport, in public digital TV and the address systems at schools and churches. The What are these frequencies and how do we list goes on and on. use them? telecommunications The equipment may look and work differently The frequencies here are in the UHF range, the industry. We will but the one thing it all has in common is using most desirable for a clear strong signal that can UHF frequencies to transmit the signal on. be transmitted and received efficiently. Some of essentially be… The reality is that many of these wireless units the spectrum is licensed exclusively, like TV and cut off. being used everyday nationwide will not work telecommunication, while some isn’t licensed in the near future. To get them to work will to any particular individual or organization. require a large investment in new equipment at Rather it is allocated for all to use under a best. At worst there may be a shortage of clear General User License (GUL). signal space that threatens the reliable use of The GUL part of the spectrum is where the the equipment. wireless microphone user, such as your sound The switchover to digital transmission has recordist or concert audio operator has tradi- begun, and will continue over the next year. tionally used their radios. NZTECHO Summer 2012 | 11

The plan is to tidy up this area where it is can sell it to people like the broadcasters and Above: All radio mic users, including on TV currently wide spread and ‘move’ the big play- the telcos if they want more space. We are talk- shoots, in churches and at sports events, ers like broadcasters and telcos to their own ing millions of dollars. Some of these areas have could be impacted by issues around the analogue to digital TV changeover. exclusive part of the spectrum, making it more already been reserved under existing license efficient. From a Government perspective, it is arrangements and others are new options and a a more profitable model. deposit has been paid to hold this space. Tell me more about this spectrum thingy? There are also obligations under the Treaty of Waitangi to reserve spectrum and the The radio spectrum talked about here is in Government needs to retain some spectrum a frequency band from 518mhz to 806mhz. for themselves ‘just in case’. The current use of this spectrum has a lot of So this big open space is now not so big and transmissions spread from one end to the other open. with little gaps here and there, where wireless transmitters squeeze themselves in between the Unfortunately we can’t just squeeze into little bigger signals. gaps like we used to because the digital signal is transmitted differently to the old analogue Some of these gaps are legitimate GUL areas signal so we would get interference making our (518-582mhz, 614-686mhz) and other gaps just radios useless. seem to work … Meaning the wireless micro- It’s quite a problem. The radio that worked phone users just go for it and ‘wing it’. This is yesterday is now getting ‘blown away’ by the also part of the problem, but perhaps easier to nice big new digital TV signal or cell phone put this to one side for now. data transmission signal. And you can’t go in The switchover proposal is that broadcasters the gap that is owned by someone else because TV signals will be moved down the bottom end even if it is clear today they might switch it on from 526 to 606 and the telcos will transmit tomorrow and you’re blown away again. from 702 to 806 and perhaps beyond. Why should we care? What’s the problem? Now this is only looking at the signals that are So where is the problem? Haven’t we got a being used in licensed areas paid or unpaid, we nice big gap between 606 and 702? Can’t we have not even considered the signals that are just transmit in there? Well, this ‘gap’ is now ‘unlicensed’ so to speak. By this I mean people referred to as ‘The Digital Dividend’ and it is using radios that are not legitimately meant to worth a lot of money to the Government who be transmitting here. 12 | NZTECHO Summer 2012

Right: Only a certain amount of air space is available for general users. The graph shows a frequency scan during the Wellington premiere of The Hobbit.

For many years people have been importing screen productions and touring concerts. The pie was being devices and selling them or using them with no Also are the social and economic losses associ- idea that there was a right and wrong area to be ated with community events, amateur theatre, cut up and there in. This in turn will cause a huge problem when schools, churches and trade shows. Conven- they go to use this device and it either does not tion centre and hospitality events could suffer was not really a work or starts to interfere with a licensed user. similar losses. Jobs potentially are at stake, the New Zealand decent slice for the Making background noise screen production industry is estimated to be GUL users. worth $2.8 billion dollars each year. Restricted Back in 2008, Radio Spectrum Management ability in the sound department would severely (RSM), a department of the Ministry of Eco- impact on this figure. nomic Development (MED), issued a release saying it was managing the digital switchover The country also stands to lose additional and seeking feedback from interested parties. revenue through reductions in tourism, foreign

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ARRI | Kinoflo | Dedolight | Matthews | Lowel | zylight | Chimera NZTECHO Summer 2012 | 13

Up to that point it would appear that its deal- for people who work in sound with UHF radios ings had been primarily with the larger players but also for our entire industry and the wider in the sector – the broadcasters and the telcos. community. At the time, a few wireless microphone users The objective is to secure enough bandwidth to in the film and TV industry realised the digital allow all the GUL activities to continue and also switchover could potentially affect them and allow for expansion of these activities so they contacted the RSM. can continue to benefit the country socially and RSM was aware there were users within the area economically. of the GUL but didn’t really have a handle on who they were or how many and the big social Change is upon us and it could impact us all, and economic contribution these users made to whether we know it or not. We all have a vested New Zealand. interest in seeing the GUL part of the spectrum But RSM had already started their plan to remaining viable. reallocate radio frequency spectrum with the WUNZ will continue to consult with the RSM main focus on the broadcasters and telcos. The team to try and secure a dedicated wireless pie was being cut up and there was not really a radio environment for the GUL user. decent slice for the GUL users. With the continued support of the TV and In May of 2008 a group called Wireless Users film industry and by spreading the word to the New Zealand (WUNZ) formed. wider community, hopefully the future really WUNZ is a voluntary organization that aims to will be trouble free and crystal clear (as the kid raise awareness of the threat posed to the use of and his robot dog keep assuring us). But for radio microphones in New Zealand. It aims to now, stay tuned in! lobby Government representatives to consider the cultural and economic implications of this threat. The Wireless Users New Zealand (WUNZ) steering committee is made up of: WUNZ is made up of people from film and TV along with equipment suppliers, retail- Stephen Buckland (chairman) – Sound Techniques Ltd, supplier ers and outside broadcasting, live and theatre Marcel Reinen (secretary) – Hills SVL, supplier audio operators. A steering committee has been Haresh Bhana (OB representative) – Elephant Audio, Murray Tregonning & Associates formed. WUNZ has had positive engagement Dave Madigan (policy advisor) – independent sound recordist, film freelancer with RSM and have raised the problems of the Neil Heathcote (live round representative) – Norwest Oceania Ltd GUL users. It by no means secures any rights to spectrum, but it does at least put the issues in Nick Treacy – independent sound recordist, video freelancer the spotlight. Tim Lambert – independent installer Daniel Larsen – Now Sound, supplier Where to from here? Richard Braid – JANDS, supplier Making the Government aware that benefits brought about by thousands of small wireless WUNZ is a non-profit, volunteer organization lobbying for the rights of wireless users users outweigh selling spectrum off is not an for the overall good of the TV and film industry. easy one. Visit www.wunz.co.nz for more information or to make a donation. It’s important to note, this is not just a problem

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IN FOCUS

Addicted to the industry! At times we know this industry is bad for us. Long hours, inconsistent work, egos, the unknown economics, but we keep coming back for more. The gratifying highs mixed with the anxious lows. Massey University senior lecturer in psychology Jocelyn Handy recently supervised research on people working in the film production industry, she came across a love/hate relationship many have with their jobs. To outsiders, the New Zealand film industry is an enigma. Work within the reward of their work, while simultaneously recognising often short-term and industry is hyped as glamorous and super cool but we also read that pay is context dependent nature of these relationships. Several people noted that they low, employment precarious, competitive is tough and working conditions hard. had relatively limited social contact with other freelancers between projects. Many outsiders wonder why people chose to work in an industry with so many They also pointed out that the extreme demands of filming limited the time avail- contradictions and whether the rewards of creative labour really outweigh the able for other social relationships. The centrality of work-related relationships negatives of the work environment. during the production process heightened the sense of disengagement some I recently had the privilege of supervising registered organisational psychologist people experienced during periods of unemployment and increased their desire Lorraine Rowlands’ thesis research investigating New Zealand film production to return to the communal environment of film-making. workers’ experiences of the industry. Reading through the interview transcripts Models of addiction also emphasise the complex psychological and practical both Lorraine and I were struck by the intensely ambivalent relationship many problems which people encounter when they attempt to end their involvement production workers seemed to have with film work. Several people described with the addictive activity. The process of change often involves multiple at- their bond with the industry as being like an addiction. Reflecting on their words, tempts before finally succeeding. Interviewees’ descriptions of leaving the film Lorraine and I started wondering whether the metaphor of addiction could be industry contained several parallels with the processes described in studies of used as a way of interpreting film workers’ relationship with their industry. Obvi- addiction. During their interviews many people discussed the difficulties of quit- ously, we aren’t suggesting that film workers are physically addicted, rather that ting the industry. For some, these difficulties were primarily psychological and the organisation of work within the film industry creates a social environment revealed their intense ambivalence about leaving an industry which they disliked which has some similarity with the social contexts described in research on in some respects but which also provided an important outlet for their creative addiction. At a psychological level, the repeated experience of highly gratifying talents, a key part of their self-identity and much of their social life. For others, periods in work and the often anxious periods of down time between contracts the obstacles were more practical and highlighted the difficulties of establishing resembles the repeated highs and lows described by many addicts. alternative careers while continuing to work in an intensely demanding profes- Studies of addiction suggest that addictive activities have three key properties sion. Those people who had left the industry permanently all described a drawn which help create a strong attachment to them. Firstly, addictive activities initially out process of repeatedly deciding to leave freelance film work and then return- supply strong emotional rewards with few obvious disadvantages. Secondly, ing for one final project before finally relinquishing their industry ties. In contrast addictive activities have characteristics which facilitate the rapid escalation to permanent employment, where resignation is irreversible, the project-based of the addictive connection. This may be through actual physical addiction or structure of film work facilitates this type of behaviour by continually supplying through a range of cultural mechanisms such as social reinforcement for specific opportunities to leave and re-enter the industry. behaviours. Finally, addictive activities can trigger rapid disconnections from The stark contrast between the highs provided by the addictive activity and the other key relationships, which reinforce the importance of the relationship with psychological and physical lows of withdrawal contributes to people’s desire to the addictive activities. re-experience the addictive high. Our interviewees’ descriptions of the collec- Most people we interviewed described entering an industry which they initially tive creative peaks of filmmaking and troughs of unemployment showed some perceived as glamourous and exciting. During these early years the pressures of parallels with this pattern. During projects production workers were creatively film work were either discounted or seen as a relatively small price to pay for the engaged, constructively focused and located within a self-contained and social and creative rewards on offer. To use the terminology of addiction, young rewarding social environment. Once their contract finished people were often workers initially enjoyed the highs of film work and discounted the adverse as- left unemployed, physically and emotionally fatigued and socially isolated. Under pects of the industry. After several years as freelancers the allure of the industry these conditions the lure of the next project is heightened since it offers both had diminished. While all interviewees emphasised the continuing creative the promise of future creative involvement and an escape from the problems of rewards of film work they also highlighted the practical and emotional problems unemployment and growing financial insecurity. of project-based employment. As in many addictive relationships, the focus of Many therapists suggest that understanding the ways in which feelings and interviewees’ emotional relationship with the industry had shifted from enjoying behaviours are influenced by the situations people find themselves in can help the relatively uncomplicated high of the early years towards a more complex them analyse their own experiences in a more objective and constructive man- relationship in which the rewards of creative labour were offset by dislike of the ner. We hope that illustrating the addictive qualities that film work can have will financial insecurity, low wages, competitiveness and general unpredictability of help people working within the industry to understand and interpret their own project-based work. often conflicted feelings about a work environment which can bring both consid- In order for addictive relationships to develop addictive activities need to offer erable stress and immense sense of personal satisfaction. psychological rewards which cannot be obtained elsewhere. For the people we A longer version of this article first appeared in the journalHuman Relations. spoke to the main attraction of film work was the lure of collective creative labour. Lorraine Rowlands is a registered organisational psychologist. She is currently Everyone we interviewed cited opportunities to work creatively themselves and the general manager, organisational development and strategy at New Zealand to collaborate with like-minded others on joint creative projects as the primary Council for Educational Research. The research described in this article is based rewards of film work. This applied to both those people who were employed in on her masters’ thesis, which investigated freelance film production workers’ clearly artistic occupations and those in less obviously creative positions. subjective experiences of project-based labour. Many people described the close professional and personal relationships which Jocelyn Handy is a senior lecturer in the School of Psychology at Massey developed during the intense creative process of film-making as another key University, New Zealand. NZTECHO Summer 2012 | 15

REGIONAL WRAP

Big thanks to Dave Brown and Jules Lovelock for their unstinting and vastly Take one – Auckland entertaining work over the last year or years. Spring never really took off this year. It was probably one of the quietest periods Graeme Tuckett, Guild member on record for the commercial market in Auckland in at least 20 years. It’s been pretty lean for a lot of freelance crew. Several people have had to bite the bullet and venture off into other worlds of income generation, always heartbreaking to Take three – Queenstown see. The NZ dollar being so strong has surely taken a toll on our fragile wee Since my last report I have been busily focusing on my family and endless chal- industry. Even some local production houses have had to downsize this year. lenges child rearing. A lot can change in three months. The same theory of course That being said, 2012 has been a steady year for South Pacific Pictures, with applies to the film Industry – lots has happened during my absence. multiple productions back-to-back and several scheduled to shoot between now I haven’t been too involved with jobs coming our way, but I still had gear out there and mid 2013. It’s always a welcome sign, keeping local writers, directors and and managed a few guest appearances when the team got caught short on the freelancers in business. bigger jobs. There are also positive rumblings that some other features and dramas have It seems like we have had a brief return of the always exciting car commercials. been green lit for early 2013, including ’s Hope and Wire, a six Hyundai and Nissan, along with a new Samsung-branded vehicle from Korea, half-hour episode eight-week shoot in . Also, hopefully, the Hercules all shot new TVCs around the South Island. Sam Strain dusted off his tracking feature will shoot early 2013 in Auckland. vehicle and with the new Shotover Camera Systems mount we shot car-to-car, Power Rangers continues shooting in Auckland. It will have a substantial hiatus aerials and some ground-to-car based footage. The new Nissan Navara shoot over Christmas then continue filming until May 2013. Providing approximately180 was probably the highlight as it had a few special effects and a bit of drama from crew fulltime employment – this is excellent. the talent. Last month Pacific Renaissance Productions’ Spartacus wrapped its final se- A standout job for me was the latest Tourism New Zealand TVC, shot and ries. The studios have all been cleared out, so we eagerly wait with baited breath directed by some Aussies for the Aussie market. There was some body rig action for some good news from these very successful and supportive producers about during some nice heli-ski runs that needed grip supervision, so I took one for the some wonderful new projects in the very near future. team and strapped on my snowboard for a few days. The shooting team brought It’s a tough world being a freelancer and many of you have felt it more in 2012 its own UAV-style heli-rig that could fly a Red Epic. That was fun to watch at night than in recent years. We seemed to dodge a bullet during the height of the on Coronet peak while it tracked with a group of skiers. recession and I try to always be optimistic when crew ask about the work climate We had Speights shoot the New Zealand parts of their latest international piece (a little bit is finger crossing, I will admit). Even though, in general, production featuring a homesick chap living in New York. Curious brought this to town along budgets have fallen dramatically over the last 10 years, and technology has made with a six-day stills shoot. it possible for anyone to point and shoot, there will always be work for those that we consider ‘professional’ and ‘experienced’ ... but we just have to be able to sit The only other New Zealand product was a small Mainland job. Batch Films pro- out the highs and lows. duced a TVC for Quaker Oats. I only did one day on this, building a tricky crane platform on top of a rocky outcrop on the Nevis Saddle. A bunch of excitable With that being said, I’m going to go out on a limb and promise (fingers crossed French gentlemen shot, directed and AD’d on the day. again) that 2013 can only be busier for us. So, on the TVC front we have had a good flow of work in the last few months. As Sioux Macdonald, Guild vice president and national executive member usual, all of it seemed to come in a big bunch and after some date changing and crew manipulation, we all got a taste of the action. The feast-and-famine theme Take two – Wellington still applies in the South as it has done for as long as I can remember. Weeks and There is a bit bubbling away down here. The phones have been ringing at Crew weeks of nothing and then three jobs in a five-day window! Wellington with a couple of decent-sized commercials coming to town from parts In other news, I attended the ‘Behind the DoP’ workshop in Queenstown which I north. Maybe word is getting out that you can still get a crew down here even if thoroughly enjoyed. We had a decent turnout of local techos, a bunch from Dun- your name’s not Pete or Jim. Here’s hoping – it’s been a long cold winter! edin and a group out of Invercargill from the Southern Institute of Technology. Meanwhile, out on the streets, and have been Alun Bollinger and Simon Raby taught and entertained with some classic film spending their own money on a semi-improvised mockuntary about Wellington’s tales. Just when you think you know a few things, something like this comes along vampire population. In any other hands you’d groan and change the channel at and teaches you a whole new appreciation for the art! that point. But coming from those two comic talents, and a very experienced Wel- We also had our Guild AGM in November, the usual drama of the coming lington shooting crew, chances are it’s going to be sensational. together of all the local personalities who sometimes only see each other on this In the cinemas, Two Little Boys is still going well. How to Meet Girls from a Dis- special day, have a beer and tell all how they feel about the way things are or are tance has become the feel-good story of the year. If you haven’t seen it yet, forgive not going. me for lapsing in to my other job, but it really is a ripper. I had to leave my wife and child for three days to work on the latest Silver Fern But the big news out of town is that Avalon Studios has sold. I went out and Farms TVC up on the Banks Peninsula. It was a funny job with two great comic talked to Paul Mainering – long-time employee at Avalon, and now one of the actors directed by Robert Sarkies for Capital City Films. Glad I did the job but new owners group. He told me categorically that Avalon is open for business and realised going away is different when you have kids. Good to be working again will remain that way. As of April, when TVNZ hand over the keys, they will be ac- though – the classic double-edged sword conundrum. Another job I had was for tively seeking out productions to shoot there. Avalon is still the best purpose-built soundstage in New Zealand by a mile and it’ll be great to see the place humming Schweppes, with a lot of stunts and large builds for crane platforms and such. again. If you’re looking for a place to shoot I get the impression you could talk So that’s the wrap on Queenstown for this issue, hopefully a few more jobs trickle some seriously-good deals right now. in this year. I also hope everyone is busy and happy, or quiet and enjoying the On a more serious, but just as happy note, at our Wellington branch AGM down time. Either way, have a good summer. Richard Bluck stepped up to take on the chair role and Jen Metcalfe is our Joshua Dunn, Queenstown branch member new treasurer. 16 | NZTECHO Summer 2012

POINT-OF-VIEW

Government needs to spread the funding dollar, says DoP Neil Cervin by giving less to a lot more. While art and props techo Michael William shares a lesson learnt about parking. Creating more film jobs in Trucking it!

New Zealand It was just under two years ago now, that I sat the theory test to get my class 2 heavy transport license. The HT road code was full of loading, Mr Key is considering lowering the qualifying threshold for the Govern- restraining, vehicle size and log book information that wouldn’t affect me ment’s Large Budget Screen Production Grant (LBSPG) to generate while working in the film industry. more TV work here. I encourage this move and suggest the eligibility limit should be lowered significantly so that smaller movie productions can There was, however, a small detail that has proven to be quite trouble- access the grant as well. If Mr Key wants these productions to use New some: “Heavy motor vehicles and vehicles fitted with a flat deck or tray Zealand workers then he should also look at how the Queensland and for carrying goods that are parked on the street at night must display a British Columbia governments encourage producers to hire local cast rear-facing red light that is on the side of the vehicle closest to the center and crew by providing rebates on each local resident hired and imple- of the road and is visible at a distance of 100 meters.” ment a similar policy here. These are proven policies that work to create I first encountered a problem with this requirement when I parked a truck local jobs. outside St Lukes shopping centre after daylight hours and could not locate a switch for the red light. I parked the truck on a well-lit part of the I have just returned to New Zealand after working for five years in the street, only to return to find a $150 parking fine waiting for me. Vancouver film industry. This year nine TV pilots were shot in Vancouver and five of these shows were green lit for series production. Each show I bought this up with the production manager, who had never heard of will bring in $3 to $5 million a week to the Vancouver economy for the such a fine before and assumed that the rental company was at fault – next few years. If we lower the $15 million qualifying level for the Govern- the truck was not fitted with a red ‘marker’ light. ment screen production grant to $1.5 million we will attract US TV pilots, This is a bit of a grey area, but information from a rental company has TV movies and series work as well as production from other markets. confirmed what I later found in the HT road code: Roughly 95% of movies are shot for less than $15 million and so don’t There is no legal requirement for a permanent night-light to be fitted to the qualify for the New Zealand Government’s LBSPG. Wouldn’t five $3 rear of a truck (some rental companies do have them, but most do not). million dollar shows provide just as much work as one $15 million dollar However, if the vehicle is parked on the road, then it is the driver’s responsi- show? It does not make sense for New Zealand to only subsidise the bility that it complies with NZTA legal parking requirements and has a night productions that have a lot of money. light on. New Zealand has developed co-production treaties with China, India, The easiest solution I have found for this is to attach a battery-powered UK, Germany, Canada, Australia, South Africa, Korea, France, Italy, red bike light, although, these eat through batteries when left on for long Ireland, Singapore and Spain. These countries rarely shoot here because periods of time (like overnight) and are understandably temperamental their budgets are too small to qualify for the LBSPG. They only get when out in the rain. a government grant here if they have significant New Zealand story I’ve learnt my lesson and now request trucks fitted with a permanent light content, yet a big movie like Avatar with no New Zealand story content before the production manager/producer makes a booking with a rental gets funding. Why does Mr Key just focus on attracting big Hollywood company. If they don’t have any available with a maker light, then we hire movies? Significantly lowering the LBSPG qualifying threshold would from elsewhere. bring more TV work here as well as more Bollywood productions and other foreign movies. It would allow us to showcase our country to a Michael Williams, art and props much larger global audience but it needs to be done in conjunction with resident rebates to be most effective in creating jobs for Kiwi workers. We want your two cents worth. Email [email protected] if you have I am now back in Vancouver, shooting a $2 million teen vampire pilot for something to say of interest or use to other members. a US Network. With cast and crew 100% Canadian, even though the film is supposedly set in San Francisco. Smaller shows like this depend on the 25% British Columbia labour rebate to get made. The pilot wouldn’t qualify for any assistance from the Government in New Zealand but the series would. However it’s a moot point because if the pilots can’t afford to come to New Zealand the series never will. Neil Cervin csc, DoP NZTECHO Summer 2012 | 17

UPSKILL

A way of training Not much 3D imagery work happens in Auckland despite it becoming more and more prominent through- out our industry. It’s time for Auckland to step up says Lou Taylor. She is part of a project aiming to upskill technicians in quickly advancing 3D technologies.

We have to stay competitive in Auckland. We have to keep up or even ahead of technology. Right now Auckland has some 3D knowledge but it is largely limited to the few who worked on Yogi Bear or on 3D films in Wel- lington. Our project is an opportunity for those few to share their knowl- edge with others in the industry. A colleague once told me “the more knowledge that we as artisans have, the more useful and valuable we are to clients – that benefits all of us.” This statement is right at the heart of what our project aims to do. If we con- tinue to upskill ourselves and pass that information our industry will thrive. I have heard a lot of discussions about training going around lately. Knowl- edge is key, certainly the more you have, the more you’re worth. My background has a strong apprenticeship mentality with a philosophy of learn-do-teach. If we live by this then we will have a strong and competitive Above: At work are Jim Wheeler, Lou Taylor and Rahela Jagric (front) industry for years to come. The best way to learn is to get out there and do, however this is not always enced 2D director to give them the opportunity to learn about 3D. Rahela possible on set as money and time constraints do not allow for the teach- has also agreed to give a presentation after the shoot about the process ing process to occur. and what is different in 3D. We would also like the 2nd director to talk So when a short 3D project with the goal to train crew with 3D workflows about his/her experience and what they learned. and equipment came up a few months back I jumped at the chance to get Simon Riera an experienced DoP with credits such as Bigger Better Faster involved. It ultimately aims to attract more 3D work to Auckland. Stronger, Bloodlines, Power Rangers and Xena Warrior Princess is excited About a month ago the producer had to step aside so I agreed to step up about the chance to test his 3D researched knowledge. and take this project on. I did not want to see this great opportunity for our To help Simon out we have a very experienced 3D crew with James Rua industry pass by. as stereographer and George Hennah as 1st AC who both just finished Everyone working on the project is a seasoned professional that wants to working on The Hobbit, both have other impressive credits like Spartacus, give back to their craft and/or take the time to learn a new skill. Everyone is Yogi Bear, The Chronicles of Narnia, Apron Strings, P.S. I Love You and I Am coming on board because of the nature of the project and not because it’s Legend. another days work. The script is aimed at the preservation of the Auckland’s pristine and pre- I am delighted about the people and enthusiasm it has attracted. cious wetlands, but it is written specifically with 3D in mind making it the Of course, it’s always comfortable to work with crews that you’re familiar ideal candidate for this project. And with the minimal dialog and characters with. But it means that once HoDs find crews they like then they rarely it allows for fewer set ups and therefore the schedule allows for longer set change them. So only small and specific groups of people learn new tech- ups to accommodate those learning. nologies and that information is often not passed on. The finished film will be less than five minutes long. The idea is that it will For this project we are trying to find people who do not normally work be used as a calling card for the Auckland film industry. Therefore we together to hopefully spread the knowledge base further so the team is as would like to see all of the film guilds and societies support this project in varied as Auckland’s population and truly represents Auckland’s diverse some way. This would make it a true industry-wide collaborative project industry. to support and advertise our industry as a community that works well together. New Zealand Trade and Enterprise (NZTE) thinks it is a great To give a bit of background about some of us involved. I have about eight project and has come on board. They have requested an anaglyph (a type years of production experience plus six years of engineering project man- of 3D image using pictures in contrasting colours) version to upload on the aging. Along with lighting, mechanical effects, rigging and pyrotechnics in NZTE website to demonstrate what the Auckland film industry has to offer. the industry here. While this project is Auckland based, others in the industry can still learn Rahela Jagric is a 3D director from Slovenia who is on an extended trip to and benefit from it. If this project goes well, it can hopefully be used as a New Zealand. She has an impressive resume including exclusive film labs model in the future. and fellowships such as Kyoto Filmmakers Lab, Berlinale Talent Campus, and fellowship from German Nipkow. She has agreed to mentor an experi- 18 | NZTECHO Summer 2012

OVERHEADS

Give us our daily allowance (and let us account for it) We all look forward to our per diems when working away from home. But are you correctly accounting for this allowance? Chartered accountant Phil Gore gives techos some tips.

Per diems are the daily allowances paid to us while away for work. They Income tax deductions are usually paid in cash with $60 being the magic number. When it comes If you contract through a loan-out company, that company should claim tax to accounting for per diems, there are a number of considerations around deductions for the actual expenses it incurs, provided it has invoices or income tax and GST issues. receipts for those expenses. The Inland Revenue issued a determination in September 2003 outlining If you contract as an individual and you receive a per diem of no more than the correct tax treatment. However, a general lack of understanding of how the IRD-approved amount, you can claim a notional tax deduction of an per diems are taxed still exists among New Zealand film industry contrac- equivalent amount in your income tax return, without having to keep any tax tors. Here are some key facts to remember about per diems. invoices or receipts. Withholding tax Alternatively, you can claim your actual expenses, if they are supported by If you supply your services through a loan-out company, withholding tax tax invoices/receipts e.g. you receive a $60 per diem but want to claim is not required to be deducted from any per diems that are paid to that $90 expenses for that day. You must keep all the tax invoices/receipts for company (or contractually required to be paid to it), regardless of the that day that make up the total of $90. amount of those per diems. GST If you supply your services as an individual and you hold a valid certificate If you are registered for GST, you should invoice the production for your of exemption, withholding tax is not required to be deducted from your per diems, plus GST per diems. e.g. 7 days @ $60 = $420 + 15% GST $63 = $483 payable. If the per diems you receive as an individual are $60 or less per day, an You need to include the GST inclusive amount of the per diems you receive exemption from withholding tax will generally apply. However, this exemp- as sales or income in your GST returns. tion only applies if you are working away from home. Also, if you receive You can’t claim a GST deduction based on the notional expense you claim a catered meal from the production on a day that you receive a $60 per for income tax purposes. You can only claim back the GST you pay on your diem, the withholding tax exemption is reduced accordingly. actual expenses, and then only if they are supported by the required tax Example one: invoices/receipts. The production pays you a $60 per diem but provides you with a catered meal worth $15. Withholding tax should be deducted on the $15. Please note the above summary only applies to per diems paid to Example two: New Zealand cast and crew. Different rules apply to per diems paid to The production pays you a $60 per diem but meets all your costs for that non-residents. Contact us or talk to your accountant for further advice. day. The $60 exemption does not apply. An earlier version of this article was published in TAKE magazine. Per diems over the IRD approved amount that are paid to an individual should have withholding tax deducted on the excess. For example, you receive a per diem of $80, withholding tax should be deducted on $20. Income tax If you supply your services through a loan-out company, any per diems paid (or contractually required to be paid) to that company are taxable to the company. You should include any per diems that are payable to you personally in your tax return. Production companies are required to include the per diems paid to individuals in their monthly reporting to the IRD (even where no withholding tax has been deducted) in the same way that the individuals’ gross fees and equipment rentals are included. If you are supplying your services as Mick Sinclair an individual, your per diems should therefore be included in the gross income detailed on your annual Personal Tax Summary, as issued to you by IRD. Ph +64 9 360-9995 www.sinclairblack.co.nz NZTECHO Summer 2012 | 19

NON-GUILD MEMBER CARD I choose not to be a member of the NZFVTG as the Guild does nothing for me. Therefore, I am exempt to all the benefits previously determined and agreed to between producers and the Guild throughout the years.

7 Alterations to Engagement Rules 7 Production Travel Allowances I am so grateful to have been chosen to work that I have no problem with being unable to I am prepared to fly, walk, drive or swim to any destination at my own expense and in my charge cancellation even if I am driving to the job. I additionally have no problem with other own time. work that may have been lost during this time. I will additionally pay for my own accommodation, and do not expect any per diems for out 7 Duration of the Working Day and Week of town expenses. There is no limit – I will work till I drop. 7 Fees and Expenses 7 Overtime Allowances I am prepared to allow the production pompany to pay without limitation when they can. I will work for 24-hours at a standard daily rate that I will independently set, and which will The production company may also deduct any additional charges from my invoice as they have no alignment with other industry rates. see fit without consultation. 7 Public Holiday Payments 7 Health & Safety Policies I am prepared to work on Christmas Day and Good Friday at no additional charge. I accept being personally placed into any situation the production company chooses to put me in – albeit burning buildings, the middle of motorways, high-rise ledges, and I do not 7 Turnaround expect to be provided with any fire protection equipment, reflective jackets or harnesses. I will work for the duration of the contract without sleep or rest. I require no safety support personnel. 7 Meal and Refreshment Breaks 7 Dispute and Resolution Services I will bring my own flask and sandwiches. There will never be a problem as I am prepared to be flogged.

Out of respect for my fellow work colleagues who are paid up members of the Technicians’ Guild, I am prepared for this declaration to be forwarded to all production companies so they can adjust the contractual conditions of my work. 7 Your signature here

Go it alone – or sign up for the support and benefits of the Guild As a member you’ll get all the benefits and support that the Guild provides, as well as the satisfaction that you’re helping to support a safer and more productive industry for all techos.

Membership is just $243 (incl GST) per annum Join the New Zealand Film and Video Technicians’ or $20.25 by monthly AP. You will receive a Guild today – online at www.nztecho.com or membership pack including The Blue Book, the email [email protected] Safety Code of Practice, a Techos’ Guild member- ship card (to access all our wonderful benefits) along with ongoing support and advice. www.nztecho.com 20 | NZTECHO Summer 2012

NEWS REEL

Christmas party, Christmas party, Christmas party! have built a global brand recognisable for its success in creating and Auckland’s combined industry Christmas drinks are on Wednesday 19 producing world class content – including recent productions such as December 2012 from 6.30pm at The Lounge Q-theatre at 304 Queen Spartacus, Mr Pip, Emperor and The Hobbit. Street, CBD. All members invited. “It has long been apparent that our industry contributes substantially RSVP at noirblanc.eventbrite.com to the economy in both real dollars and intangible benefits such as tourism, and the promotion of the New Zealand brand as a land of Wellington’s branch Christmas party was held on Monday 10 Decem- innovation and creativity.” ber 2012 at the Southern Cross Hotel, Wellington. Adds Grant Baker, managing director of Images & Sound, one of New Queenstown branch Christmas party. Film Otago Southland, Santa, Zealand’s largest providers of post-production facilities: “It would be and the Techos’ Guild invite you to our annual Christmas barbeque on hard to imagine what our society would be like without screen enter- Wednesday 19 December 2012 from 4pm at Lake Hayes Pavilion. tainment. In purely economic terms, it is a substantial contributor to our Partners and children are most welcome. Gourmet sausages and economy, as this report makes clear – but culturally, it’s much more snacks will be provided with BYO liquid refreshments. Don’t forget difficult to put a price on it.” towels, togs and toys for swimming along with frisbees, croquet and petanque sets. Source: Idealog, www.idealog.co.nz RSVP to KJ at [email protected] or on 0274 425 268. Guild helpers needed next year Film and TV outstrips the wine industry Workshops: PricewaterhouseCoopers’ Economic Contribution of the New Zealand One set of workshops down and three more to go! We’re very keen Film and Television Industry 2012 indicates the film and TV industry to talk to any senior crew, with wealth of knowledge that would be generated more than $3.23 billion in revenue in 2011. beneficial for younger crew and their peers alike. Also, we’re very keen to hear from any production crew who could spare some time helping The sector’s total contribution to GDP was $2.78 billion, or 1.4 with logistics. Your help would be much appreciated. The workshops percent – more than the wine industry at $1.52 billion. Gross earnings are an incredible resource for everyone. increased four percent since 2008, when PwC previously assessed the screen industry. A bit of business nous: Film and TV supported 21,315 full-time equivalent positions last year, We’re very keen to hear from anyone who has a little time to spare to and directly employed just over 10,000. help with a small marketing project next year. Film production provided a large share of the overall impressive result, Please email [email protected] or phone 09 302 2022 if you can help earning $1.4 billion in gross revenue for a direct GDP contribution of or if you have information/skills that could be entered into an upcoming $575 million. workshop. Pete Rive, chairman of Film Auckland, said the report was an opportu- nity to both recognise and celebrate New Zealand’s screen community. Don’t forget to let us know if your contact details change! “Through the collective skills and talents of many New Zealanders, we Email [email protected]

GOLD STARS & CHOCOLATE FISH

Big thanks to the following people for supporting and helping the N Louise Hartstone and Yves Simard, for help with Auckland workshops. Techos’ Guild: N Adrian Hebron, Jules Lovelock, The Film and Television School, N Sioux Macdonald for ongoing support to both Karla and Carolyn, Steve Russell and The New Zealand Film Archive . providing office space for Guild accounts, hosting Auckland meet- N Mark Gillings, Brett Mills, Narelle Wilson, Rachel Kinsella and Kevin ings and for the NZTECHO regional wrap. Jennings (of Film Otago Southland) for support with Queenstown N Alun Bollinger (Albol) for facilitating the workshops and extra contri- workshops and AGM. butions to NZTECHO mag. N Andrea Clout (of Crombie & Lockwood) for speaking to students N Nick Treacy for speaking to students about the Guild, help with the about the Guild. workshops and NZTECHO magazine contributions. N Huge thanks to New Zealand Film Commission for funding our N Dave Madigan for ongoing support. workshops! Hugely appreciated and very well received. Also thanks N Simon Raby for facilitating the workshops. Jasmin McSweeney (NZFC) for help with photos for NZTECHO. N Joshua Dunn and Graeme Tuckett for the NZTECHO regional wrap. N All the members that keep us updated with contact details and other information. NZTECHO Summer 2012 | 21

NEW MEMBERS

Join us in giving the following new members a hearty welcome! Auckland Wellington Jan Sisley, camera Seth Kelly, art Kirsten McLaren, art Matt Tuffin, camera Blair Ihaka, camera Josh Barraud, art (rejoining) Matthew Day, student/lighting Queenstown Emma Holliday, makeup Kirk Pflaum, camera NATIONAL EXECUTIVE BOARD Louise Hartstone, production Stephen Kilroy, lighting Olga Gill, makeup Ruby Cumming, student/art President Amanda Gillanders, student/production Rachel Kinsella, production Alun Bollinger 03 732 8123 Alyssa Kath, camera Tom Brown, art Vice president Neil Cervin, DoP (rejoining) Ken Turner, art Sioux Macdonald 021 969 609 Andrew South, grip (rejoining) Treasurer Brendon Durey 021 866 977

Auckland chair Nick Treacy 021 280 8950 Wellington chair Dave Brown 0274 774771 Queenstown chair Mark ‘Goat’ Gillings 021 993 557

For full committee listing and contact details please email: [email protected]

TECHOS’ GUILD OFFICE

Karla Rodgers, executive officer Carolyn Brooke, accounts officer

Tel: 09 302 2022 0800 TECHOS (0800 832 467) Fax: 09 302 2025 PO Box 68-294, Newton, Auckland 1145 [email protected] [email protected] [email protected] www.nztecho.com

Techos’ Guild office hours Monday to Friday, 9am to 3pm Outside these hours, please leave a phone message or email us. 22 | NZTECHO Summer 2012

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