SPRING 2012 | ISSUE 54

NZTECHOThe New Zealand Film and Video Technicians’ quarterly

Capturing the extreme: New heights in filming Camera: From film to digital and beyond

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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 As you will read in the following pages, there is certainly a lot going on at GUILD NEWS & VIEWS the Guild at the moment – exciting times ahead for sure. 2 President’s rave puts us in the picture... We focus in on the wonderful world of camera. We hear from Peter Pres Alun ‘Albol’ Bollinger’s thoughts and recent travel Parnham on some of the issues around the move from film to digital. 3 Behind the scenes Alun Bollinger also shares his thoughts on the journey so far. Executive Officer Karla Rodgers with good news There is certainly plenty to consider but, like all technologies, some will INDUSTRY Elevated Work Platforms & Scaffold embrace them while others won’t. One thing is for sure though – digital technologies will only develop faster and faster. 6 Waving goodbye to film Cameraman Murray Milne takes us on an off-road adventure with the recent Exploring the film versus digital debate New Zealand television series First Crossings. A reminder that you never 10 Face-to-face with the elements quite know where this industry will take you. A techo’s experience shooting in extreme conditions 14 Regional wrap Our lawyer Tim Riley talks through some contractual issues impacting South Island Vehicle Rental 20 News reel members. Remember, never be afraid to negotiate! In our safety section there is a slightly holistic approach to health and TECHOSPHERE wellbeing. What can you do to reduce stress, physical injury or discomfort? 4 Fine print: What’s in a contract? It is not just about heavy lifting and not taking breaks either. It is the every- 5 Back in the day: Peter Janes shares more snaps from the past day tasks and choices we make that have an impact too. 16 Point-of-view: Understanding film producers North Island Vehicle Rental We also hear from Crombie Lockwood about public liability insurance in 17 Safety notes: Looking after yourself our member benefits section – covering the unknown. It is important to 18 Extreme close-up: Murray Milne protect yourself! 20 Members with benefits: Covering the unkown Our new regional wrap section aims to keep members updated on 20 Gold stars and chocolate fish happenings around the country. So a fairly busy winter in Auckland with a sprinkling of jobs in Queenstown while many in Wellington are now taking Portable Toilets & Showers a well-deserved breather after The Hobbit wrap (but also looking forward to a division of working on the next one). Here’s hoping for a busy spring across the board as we head into summer.

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Cover shot: Camera operator Murray Milne abseiling off the top of Barrier Knob in the Darren Mountains, Fiordland with presenter Jamie Fitzgerald. Photo courtesy of Murray Milne. Generators & Pumps

ISSUE 54 SPRING 2012 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 Helen ‘HelBol’ Bollinger views of the New Zealand Film and Video Technicians’ Guild. Film Specialists Tom Hotere 0272 614 195 or Craig McIntosh 0275 878 063 We appreciate Dave Brown Joshua Dunn Rental Vehicles Marianne Dyer 0275 542 506 or Craig Booth 0274 919 027 the support of: Sioux Macdonald Murray Milne Peter Parnham Tim Riley Tui Ruwhiu Graeme Tuckett www.nztecho.com 2 | NZTECHO Spring 2012

BEHIND THE SCENES With over 20 years in the film industry, Karla Rodgers is now executive officer for the Techos’ Guild. Spring behind the scenes Kia ora all, I’m feeling so happy to deliver good news in this issue. Guild Having had to bring the tone down a little with the immigration issues, I end funding, new member benefits, membership increases and immigration on a relative fifth positive note. Recently the Guild did in fact object to a applications turned back at the boarder! case being processed through Immigration and an immigration lawyer, and First positive news. As funding in any sector gets tougher and tighter I was we won – protecting positions for local crew as DOP, co-coordinator and thrilled to recently receive a call from the New Zealand Film Commission to editor. So I do hope those positions end up going to Guild members who let us know that the Guild has been successful in our application for funding have secured the right to those positions, which without the Guild, would under the Professional Training Partnership Programme for 2012. not have been possible. n With such a broad range of skills within the Guilds’ membership the challenge was to create an application to the Film Commission that would be geared towards all our members developing all our skills, and we nailed it! Although dates and venues are yet to be decided we have been funded for four workshops to be held in each Guild region: Auckland, Wellington and Queenstown. There will be a charge to non-Guild members but to Guild members the workshops will be entirely free. On a second positive note. Fuel – going up by the minute and as important to our daily working life as food. The Guild has secured a well-timed fuel deal with FnF Fuels. On application all Guild members will get 6.5 cents off petrol and 8.5 off diesel (off the Auckland zone price). So no more mucking around with supermarket vouchers. But there’s more – additional benefits to the fuelcard will include great discounts with Bunnings, Repco, Noel Leeming, Office Max, Ideal Electrical, Mastertrade, Protector, Safety and Carters. The cost of savings on the fuel alone will literally cover the cost of annual Guild membership – so why wouldn’t you be in the Guild? Onto the third positive note. We recently secured with Mediaweb, publish- ers of Onfilm and The Data Book, free yearly subscriptions to Onfilm magazine for all Guild members… and there’s steak knives… each Guild member will also receive their own free hard copy of The Data Book. Moving on, fourth positive note. Over the past six months our membership has been steadily rising. Often the phrase coined is ‘but what does the Guild do for me?’ The answers are satirically put in the ‘Non-Guild Member- ship Card’ published in this issue (see page 19). Ironically, it is often the non-Guild members who are first to complain when lunch isn’t on time. Time to flash the Non-Guild Membership Card! On that note: What we do do. In recent months, the Guild has worked very hard as changes in the immigration laws start to have an impact – and they are. We have heard of technicians booked and confirmed on jobs of less than 14 days dropped in favour of no better-qualified overseas techni- cians. Also, we watch closely the companies who have applied for Industry Accreditation, as rumblings appear to be surfacing of how that system is being used or possibly abused. With the April 28 change in policy due for review in September 2013, I am working with the other Guilds to document as many cases as possible in readiness. Unfortunately, Immigration New Zealand have removed the ability for the Guilds (in fact anyone) to monitor who is and who is not coming into Mick Sinclair the country to work in the screen industry, so we will be relying somewhat on you, as crew, to let us know (in confidence) of situations which you believe to be impacting on the jobs of local crew. Ph +64 9 360-9995 www.sinclairblack.co.nz NZTECHO Spring 2012 | 3

PRESIDENT’S RAVE Award-winning cinematographer and committed West Coaster, Alun Bollinger has been president of the Techos’ Guild for an age. Freebies in Ireland and other adventures Having watched the speed of the transition from analogue to digital in *Plus a few words from Helen Bollinger music, stills photography and now cinema, I’m seriously hoping there Movie-making is a great way to see the world. It remains the perfect will be a much swifter transition from fossil fuels to electricity for the vehicle for transporting film workers to exotic places and people, both propulsion of our road transport requirements. There are so many obvi- here and off shore. ‘Exotic New Zealand’ may seem like an oxymoron – ous advantages of electric motors over the internal-combustion engine: but New Zealand is a big and varied little country. How many of us have cleanliness, efficiency (the motor is only using power when it’s working seen all of it? so nothing’s happening when you’re stopped at the lights, except for As you would’ve read above, Albol and I recently had a marvellous powering the CD player), and... the distribution network is in already adventure in Eire, Republic of Ireland. We went there to document a place! (No, I do not have intentions of buying up shares in Mighty River fusion of traditional musical styles and instruments as performed by Power – that’s a whole different discussion!) Irish and Maori musicians who came together as Green Fire Islands. Meantime, Helen and I have flown to the other side of the planet (more At our great ages (129 years all up) we’re still doing freebies in return combusted fossil fuel to add to the demise of our Mother Earth, does for adventure – Green Fire Islands was the latest. flying economy class mean a smaller carbon footprint?) to document Our group of around 30 was accommodated at Annaghmakerrig, a fine the coming together of a group of Kiwi musicians and performers with a old country estate in County Monaghan. Tyrone Guthrie, former owner group of Irish musicians and performers. Here we are, knocking on the and philanthropist, left the property in his will, (3 March 1971)… door of retirement age and still doing free-bees. The venture entailed “…my said dwelling-house, furniture, pictures and chattels and the in- staying in an artist’s retreat, the Tyrone Guthrie Center, Annamaghker- come from my residuary estate to be used for the purpose of providing rig, in the northern part of Southern Ireland, County Monaghan, near a retreat for artists and other like persons … so as to enable them to do a town called New Bliss. Here we stayed for about a week while the or facilitate them in doing creative work.” show was rehearsed and worked up. Then we took a trip away down to Now wouldn’t it be a fine thing for New Zealand to have such a place? County Cork to partake in a cross-cultural greeting ceremony between Sam? Peter? Finn boys? the Irish and Maori – a very interesting and enriching experience. Then the working part of our trip was rounded off with performances One night after work, Albol bush-bashed right around Lake Annagh- in Dublin and London before the Olympics had begun. Helen and I makerrig. This raised a few Spanish and Irish eyebrows – why would then caught a train up to Edinburgh to catch up with rellies. What an anybody want to do that? Albol’s response was – why wouldn’t interesting old city Edinburgh is. We were there just before the festival everybody want to do that? His tramp seemed to confirm the European began so we missed the festival and we missed the Olympics – and perception of New Zealand as one big outdoor education camp. consequently missed the worst of the crowds, but were able to take I was on the crew list as film-crew and costume. My kit consisted of advantage of all the very helpful ‘helpers’ who were stationed at sta- my Apple MacBook, double-sided tape, little gold safety pins and a big tions all over London. bunch of genuine plastic Pohutukawa flowers (thank you Dana). On the film side, I prepared interviews and downloaded the cards from two So that’s what I’ve been up to but what’s happening with your Guild? cameras and sound, after a crash course from a woman in Donnybrook, Our executive officer, Karla, has applied for and got money from the Dublin, who rented us the camera gear. Incidentally, she had a picture New Zealand Film Commission to fund a series of workshops. I’m sure of Robert Mugabe on her wall, with the caption ‘Clean up Irish politics she will fill you in with more. This is a great move forward for our Guild, – Mugabe for Taoiseach!’ (Taoiseach is Prime Minister). She explained getting more involved in the process of up-skilling and broadening that local politics was nothing out of the ordinary, ‘just full of the normal the skill base. It is also an opportunity to enhance inter-departmental graft and corruption’. understanding within our industry. As Karla rightly points out, we have only one Oscar-winning Kiwi director but we have many Oscar-winning I stored about 60 hours of footage on two hard-drives which were creative technicians, as well as many more Oscar-nominated creative (and are) kept in different places. I do wish I’d left one hard drive technicians. So it’s great that we now have this opportunity to help behind in Annaghmakerrig, so I could rush back there to look after it. spread knowledge and understanding among our ‘creative technicians’. I’m also counting on the producer to jack up the edit to be done there. (That’s Karla’s choice of words, ‘creative technicians’, I like it!) Evidently, you don’t have to be Irish to get into Annaghmakerrig– the project is the thing. Albol Helbol 4 | NZTECHO Spring 2012

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

The contract Why is it that in this modern and democratic age, signing a contract can still feel a little like selling your soul to the devil? Tim Riley looks at some common – yet questionable – contract clauses.

Someone once said ‘the contract is where the soul of man resides’. I think 2. The Contractor agrees not to discuss the details of this agreement with it was Nietzsche or maybe Camus – it was possibly even my second-year any persons not directly involved in negotiating this Agreement. contract law lecturer. I don’t know where the soul of women resides. Not in Yes, because it’s so top secret that the world will fall apart if anyone knows the contract clearly, which probably explains why women are more interest- what’s in it! Sometimes this kind of provision is reasonable but usually not. ing than men. Confidentiality regarding the project for sure, but it doesn’t have to extend It is a little known fact that the concept of a written legal contract was to the agreement. invented during the age of slavery in the United States, and it was the 3. The Producer may require the Contractor’s services for up to two primary cause of the American Civil War. What happened was that additional weeks or part thereof at the end of Production Period. The Thomas Jefferson proposed that rather than just submitting to the terms Contractor will remain available and, if required, work the additional of slavery imposed by their slave masters, slaves should in fact be able week(s) or part thereof. The Producer will advise the Contractor of the to negotiate the terms and conditions themselves. And the conclusion likelihood of any extension being required as soon as practicable. of these negotiations would be enshrined in a written document which Aside from the crime (unforgivable in my opinion) of using the word came to be called a ‘contract’. ‘thereof’, the problem with this kind of provision is that usually there’s no So under these contracts, slaves could negotiate and agree upon such extra money if the additional work is required. The tension with these types things as how many beatings they should have to endure in a day and of clauses, as always, is striking a balance between the needs of the pro- what contractual breaches were punishable by being beaten to death ducer to have some flexibility around start dates and production schedules (as opposed, say, to being thrown down the well). Unfortunately (from the and the needs of the contractor to enjoy the benefits of food and shelter. point of view of slave owners) some slaves developed superior negotiating You can’t be available for extended periods of time and no pay for one strategies and in a Supreme Court case, which became famous in United project when it means missing out on other work. States jurisprudence (The State of Virginia v Thomas M’Buko), the court upheld a contract in which the former slave, Thomas M’Buko, inserted 4. Not withstanding 3.1 above, the Contractor also agrees to work the contractual provisions in his contract granting himself freedom and owner- hours that are required by the Producer or the Production Manager ship of all the slave owner’s lands and possessions (including his wife). whether or not those days are Shooting Days or part of the Shooting Unfortunately (for him) the slave owner did not read the amended contract Week. closely before signing it and unwittingly agreed to these radical provisions. The effect of this clause when read with 3.1 (which I haven’t reproduced) As a result of cases such as these the South revolted, and the rest is is that although you are being paid to only work a five-day week, you could history. be required to work a seven-day week for no extra money. I’d file this in the ‘hey what are you complaining about! You’re lucky to have a goddamned As a direct result of the history of the written contract outlined above, job!’ category. contracts for services today still have a whiff of the slave-slaveowner relationship, and for that reason I thought it might be useful to examine And now for my Free Advice a few typical contractual provisions that will arise in contracts you are The sample clauses above are pretty standard. Sometimes they are less presented with. These clauses were actually submitted by a member, but stringent, sometimes more so. So don’t be afraid to negotiate. Negotiation will be familiar to many of you (FYI the rest of this article is the serious should always precede the signing of a contract. You have to be realistic legal part, in case you can’t tell…): about what is achievable (there is nothing more annoying than contractors 1. The Contractor shall use his or her best endeavours to protect and making ridiculous and unreasonable requests). You have to bear in mind promote the reputation of the Producer and shall do nothing to under- the commercial realities of the project. But don’t forget you have your own mine the Producer’s good reputation. commercial realities too! This is a common provision but often is worded in a way that simply The best thing to do (warning, shameless plug coming up) is to engage a requires the contractor not to do anything that might harm the producer’s lawyer to have a quick read of the contract before signing. Someone who reputation. In that more passive form it is quite reasonable as a contractor knows the industry well (someone like, ahem, me, for instance) can quickly will often be in a position where he/she could be seen by the public identify the negotiating points. You won’t be able to get rid of clauses like at large as a representative of the producer. But when the clause goes the ones referred to here, but you should be able to make some modi- on, as this one does, to require a positive effort to protect and promote the fications to alleviate the harshness. And isn’t that what life’s all about… reputation of the producer, it goes too far in my view. Aside from the fact alleviating the harshness. n that this is not what the contractor is being hired and paid for (generally), the wording is so vague as to be virtually meaningless. NZTECHO Spring 2012 | 5

BACK IN THE DAY

Reflecting on our industry Guild member and camera operator Peter Janes shares a highlight from his 45-year career.

“I was working for the NZBC in the late 60s/early 70s and this was its first big drama The Killing of Kane, shot in Hawera in January 1970. Chris Thompson was director, Waynne Williams was DOP, Leo Shelton his 1st AC, Derek Williams was sound op and Janice Finn was script supervisor. Geoffrey Murphy and Alun Bollinger were also there with the Acme Sausage Company crane. I was there to look pretty. We also had some NZBC lighting people and other support. We shot on a Arri BL 16 with a zoom lens. I can’t remember the film stock but I’m pretty sure it was black and white. We had Miller tripods with wooden legs in those days.” Do you have television and film photos from years gone by? NZTECHO would love to see them. Send them to [email protected]

Clockwise from right: Script supervisor Janice Finn taking a breather; Mount Taranaki gives a stunning backdrop for the set of The Killing of Kane over 40 years ago; Stars in the making – a stellar crew line-up. Photos courtesy of Peter Janes

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FEATURE Waving goodbye to film Technologies first seem novel and unproven, then one day they seem taken for granted, then in moments of reflection you wonder just how it all happened so quickly. Film versus digital remains a hot topic in the industry. But while the jury is certainly not yet out, one thing is for sure – the film to digital migration is an ongoing journey. Peter Parnham has been involved with camera equipment for 25 years and reflects on the issue. “The level of detail It is hard to believe now but when the first But apart from history there is no reason to computer based Avid non-linear editors came be satisfied with the soft shots, juddering pans is amazing in a way out in the early 1990s, some editors described and excessive grain parts of say, the Bourne that is not sterile the new technology as a backwards step. It was Legacy (without even counting the ‘creative’ something about the feel of splicers and sticky motorcycle chase). Or the shaky projection or clinical and you tape and the laborious process of building and splotches of dirt that Val Morgan cinema can really exploit the films on flat-bed editing machines. advertising inflicts on us prior to features. As it turned out it was probably the Avid But the film versus digital debate all seemed subtle things that the that marked the beginning of digital post- to become a bit pointless when, over the last colour is doing.” production. By the early 2000s film began to couple of years, film cameras stopped pro- be digitally scanned into the post-production duction and the last laboratory in Auckland chain, only to be transferred back out to film closed. Film has not exactly been pronounced for cinema exhibition. With post-production dead but if you want to shoot with it these already digital, the debate in the production days you are almost a maverick that has to community shifted to digital cameras and the argue the case. Still, film cameras last for challenge they pose to film. decades and unlike digital cameras that get To put the debate in perspective, 35mm film superseded on a regular basis, even old film has been widely regarded as the gold stand- cameras always shoot with state of the art film ard for shooting and projection for over 100 stocks. As long as film stock is made and a years. In defence of this romantic view, it was lab somewhere will process it you will be able the best on offer, except for the brief but glo- to shoot if you want to. The question is ‘will rious appearance of Lawrence of Arabia and anybody want to?’ a few other 70mm classics about 50 years ago. Most cinematographers usually declare a love for film and are pretty cautious about digital cinemas. A similar increase in frame Above: Filmmaker Paul Swadel takes some comparing cameras, usually falling back on speed for television has been mooted. camera pointers from cinematographer Leon the classic ‘horses for courses’ response. But Narbey while shooting timelapse on a Bolex. Movies are made up of a series of still images Photo courtesy of Paul Swadel. if you are at the very top like Roger Deakins, or frames. If you shoot twice as many frames who holds a string of nominations and awards per second, the little increments in movement stretching back to The Shawshank Redemption, between each frame reduces, making images you can afford to come out and say the previ- appear sharper and eliminating the majority ously unthinkable. of judder, especially important in 3D where it “This moment has been coming for a long can be more noticeable. time,” he told the prestigious American That hasn’t stopped traditionalists who are Cinematographer magazine last November. wedded to the gold standard 35mm film going “But with the Alexa [digital cinematography into print to decry the idea precisely because camera] I believe digital has finally surpassed it doesn’t look like film. film in terms of quality. Sometimes I get annoyed with the garbage I hear about film Another way to boost digital quality is already versus digital. Most of it is simply nostalgia implemented in many post-production and silly thinking. I love film, sure, but this houses and could soon become an end-to- camera has brought us to a point where digital end reality from shoot to cinema, if cinemas is simply better.” take the bait and install 4K projectors. Today, around 2000 pixels make up a horizontal line But just because digital technology may have in a typical 2K digital cinema projector or reached or exceeded film is no reason to stop development. With The Hobbit Sir Peter Jack- high definition TV (HDTV) image. A boost son wants to take us to 48 frames per second, to around 4000 pixels (4K) or its television or twice as many frames per second, as stand- equivalent called 4KTV would provide a leap ard cinema projection speeds – impractical in resolution. in film cinemas but easily achieved in many Deakins believes that a 2K Alexa camera is 8 | NZTECHO Spring 2012

Right: Digital technologies have opened up new distribution opportunities for Paul Swadel, pictured with his brother Marc. Photo courtesy of Paul Swadel.

“You’ve got better than film. Alexas are firm favourites of Paul Swadel is one of the executive produc- many cinematographers but Red cameras (a ers for ‘Blue Harvest Shorts’ – a New Zealand depth of field, ISO line of cameras introduced with great fanfare Film Commission funded short film pro- [sensitivity], aperture in 2007) have claimed to produce 4K pictures gramme. He is a prolific film maker and says since they came out and Sony’s latest effort is the big turning point was when the Canon 5D and different focal designed to contest the leadership in the 4K Mark II, a type of professional 35mm digital length lenses to think camera race. stills camera known as a DSLR, first appeared in 2009. The camera came with high defini- New Zealand cinematographer Aaron Morton about, so students tion (HD) video functions, opening the pos- used the new Sony F65 digital cameras for sibly of shooting in a cinematic style to people the Evil Dead shoot in Auckland recently and are gaining better who had no prospect of affording 35mm film came away from the experience enthusiastic. fundamental, formative to shoot movies. “The level of detail is amazing in a way that At a cost of only a few thousand dollars, the based knowledge that is not sterile or clinical and you can really new Canon opened up a world of low-budget film makers need.” exploit the subtle things that the colour is or even self-funded features that actually doing,” he says. looked like real cinematic features, even if Still, 4K, 48 frames (even film itself) are all using a camera optimised for stills requires grand options if you have the budget. But one a good deal of compromise. It wasn’t long thing digital technology has not done is alter before camera makers like Panasonic and the fundamental economics of traditional Sony rushed to produce their own low cost, feature film making. What it has done is allow 35mm-sized sensor video cameras. much cheaper feature films to be made by A 35mm sensor is much bigger than typi- allowing a new approach to film making to cal video cameras and thanks to the laws of emerge. optics, offers a shallow depth of field, allow-

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Auckland Contact Gavin Ph : 09 373 4330 Email: [email protected] Wellington Contact David Ph : 04 499 9225 Email: [email protected] Crew Nationwide Ph : 0800 699 899 www.rocketrentals.com NZTECHO Spring 2012 | 9 ing you to separate the subject from its background or literally The Swadel brothers started in film and have a lot of experi- focus on a single element in a frame. This gives a cinematic ence but for newcomers this style of filmmaking means that 35mm film look even when you watch it on YouTube. by the time they get near any serious money they are likely be But a low-cost large-sensor camera is only half the story. A more practiced and have a higher level of skill. crucial ingredient for a film maker like Swadel is digital cinema “I’m working with James Cunningham at the Media projection. Now, instead of shelling out for impossibly ex- Design School and we have Canons 7Ds and 5Ds and it is pensive 35mm release prints, a digital cinema package (DCP) very different from say learning on a video camera, like the of files on a portable hard drive can be distributed to digital old days,” Swadel says. “You’ve got depth of field, ISO [sensitiv- cinemas, making it financially possible to enter film festivals ity], aperture and different focal length lenses to think about, or negotiate limited cinema releases in a way impossible a few so students are gaining better fundamental, formative based years ago. knowledge that film makers need.” Swadel used this distribution model when executive producing To see how this knowledge is being applied you need look When a City Falls, a recently released documentary directed by no further the V48 Hours Furious Film Making competition Canterbury film-maker Gerard Smyth. “It did about $450k at entries, which Swadel says have become more cinematic since the box office, and we sold about 20,000 DVDs,” he says. the Canons arrived. His next venture is to produce and co-direct a feature called You might think transforming the way low-budget films are Davey Darling with his brother Marc as DP and co-director. made is the most important contribution that digital technol- He says shooting in Christchurch with a studio-style digital ogy has made, or for you, it might be more important that camera would require too many crew, cost too much and slow digital technology is used improve image quality on high-end them down. productions. For others, its biggest contribution is helping new “It’s a different style altogether and I want to move quickly,” filmmakers to learn their craft. he says. “We’re aiming to shoot with natural light, and use a But in a world where millions of videos and other digital few extra little LED lights whenever we need it. There will be entertainment compete for your attention, the fundamentals a few situations we need to light, but we need to move quickly become even more important, says Swadel. Basically, it comes we don’t want anything heinous and big or with a whole lot down to whether or not the story is any good. of people.”

Changing directions Award-winning cinematographer and Techos’ Guild president Alun Bollinger shares some thoughts on the journey from film to digital. The digital age is upon us whether we like it or not. As digital took only shot digital for docos, a whole different kettle-of-fish. over from analogue in music and from film in stills photography (almost My next feature project was Medicine Woman shot on the Arri Alexa. I completely now), so digital is taking over in moving pictures. In fact the found I was quite comfortable with the Alexa. I had had the chance to transition is only a year or three away from being complete. work with it previously shooting some extra footage for Mr Pip, so the I hold a theory that two things are occurring simultaneously. Firstly, the camera was a bit familiar to me, and of course this was my second ‘digi- audience is adjusting to the ‘look and feel’ of the new digital formats. tal feature film’ so I was more comfortable with the medium. Secondly, the technology is improving all the time. So we may never And we are all going to have to get comfortable with the medium coz it’s quite know when the crossover between audience acceptance and here and it’s here to stay. familiarity and the real advances in the technologies has occurred. I think I’ll be happy so long as the cameras become more compact but also we’re already beginning to see film as having an out-of-date look to it. more ergonomically user-friendly. And of course I want the camera to I’ve now shot two feature ‘films’ using digital cameras.Love Birds was deliver the best quality of image. But what does that mean? shot on the Genesis and Medicine Woman was shot on the Alexa. I know The best quality image is, to put it simply, the image which gives the which of those two tools I felt most comfortable with but then the Alexa most flexibility in the grading suite, which is where so much of the ‘look is a newer camera. and feel’ can be achieved. Of course modern film stocks, once scanned For a while there I was sad about losing film, especially when it was into the digital realm, give great flexibility largely because of their innate sprung on me on Love Birds. I had thought the project was to be shot latitude. But it seems that digital technology is fast approaching the on film and was not at all sure how a digital camera was going to han- same levels of latitude as film. dle the contrast we’d be dealing with. Our locations were essentially One wish I have is that the companies which are working on advancing chosen for the views out the windows so we had to light the interiors digital technology would take a bit more time between releasing one up to within cooee of the exterior light levels (within two or three advancement and the next so that we don’t get swamped under an ever- stops). It worked with the Genesis but I was constantly checking with increasing pile of out-of-date technology. our digital wrangler. My nervousness was of course largely because of my lack of experience with the camera and the format. I’d previously Albol 10 | NZTECHO Spring 2012

CLOSE-UP Face-to-face with the elements

Abseiling down a 4,000-foot mountain or being swept away in icy cold water – New Zealand television series First Crossings took crew to the extreme. Camera- man Murray Milne recounts his experience in television making that aims to take the audience along for the ride too. “Whenever the First Crossings follows two Kiwi adventurers to sling over my shoulder when climbing and as they retrace the journeys of some of New used about four of the small internal bat- guys climb a Zealand’s great (but often unknown) early teries per day. It was cheaper to buy a week’s 120-ft cliff or abseil explorers. Styled on Man vs. Wild, the inten- worth of camera batteries than it would be to over the edge of a tion is that the camera is immersed in the helicopter larger batteries in to us. Also one journey (sometimes literally). To feel like we 32Gb CF card lasts a whole day and weighs 4,000-ft mountain were taking the audience on the trip with us nothing. We mostly used the standard Canon face or get swept too. Of course this means whenever the guys 24-105mm zoom with a variable ND filter away in an ice-cold climb a 120-ft cliff or abseil over the edge of and had the 16-35mm wide zoom on the a 4,000-ft mountain face or get swept away second camera. We did carry the 150-500mm river, so does the in an ice-cold river, so does the camera and and tripod for long lens shots. camera and there- therefore the camera operator too. My favourite item of all was my Ewamarine fore the camera We had to backpack everything we needed waterproof camera bag. We used this more for a week at a time, knowing there was no times than I expected. Obviously it was great operator too.” access to power for battery recharging. So for all the rivers, waterfalls and boat journeys there was definitely some discussion about but it also allowed us to shoot the whole last what camera to take. The Canon 5D proved day on the West Coast when it was lash- to be a good choice of camera for this expe- ing 40-knot horizontal rain. You wouldn’t dition. It was small and lightweight enough normally even try to shoot in those condi- NZTECHO Spring 2012 | 11

tions but with constant spit on the front glass to keep the water drops off we could shoot straight into the teeth of the storm and complete the journey. We did have to keep applying the anti-fog to the inside of the glass when dipping into the 4-degree water. I also loved the day we jumped into the sea to swim and film amongst the seals and the Ewa bag made it so easy. I needed the Zacuto viewfinder to focus and to see the screen in really bright condi- tions, especially in the snow. I stripped a Red Rock shoulder support down to just a single handgrip to keep the rig as slim as possible, knowing how much bush bashing we’d be doing. I wanted to avoid being snagged on Top: Taking filming to new heights – a bit more than a day in the office for camera operator Murray Milne. vines and branches. Above: Crossing the Grand Plateau – Murray filming presenters Kevin Biggar (right) and Jamie Fitzgerald. My only lighting was some small LED panel Photos courtesy of Murray Milne. torches, but with the very high ISO available 12 | NZTECHO Spring 2012

Left, top: Lugging a week’s worth of equipment in by backpack meant careful camera selection by Murray. Left, middle: Jamie is over the edge with Murray on camera and Kevin to the right, at Adelaide Saddle looking out towards Milford Sound. Left, bottom: From left Murray, Jamie, sound operator Mark Messenger, director Greg Heathcote and Kevin. At Adelaide Saddle with Milford Sound in distance. Photos courtesy of Murray Milne.

on the 5D, we could shoot with firelight and use the LEDs as backlight. Safety was managed by our knowledgeable and entertaining guides and we had some local experts when we did the really tricky rope work, but nothing prepared us for the suck of the Buller River. It was stronger than my wetsuit and lifejacket combined, but thankfully was the only real ‘uh-oh’ moment. For sound we had radio mics on our talent Kevin Biggar and Jamie Fitzgerald. Our soundie Mark Messenger sent timecode to the camera for synching later, except for the few times when I was on my own, like mountain peaks and anything in the water. My favourite trip was Fiordland and climbing amongst the Darren mountains. The scenery and helicopter trips were spectacular. The view from my sleeping bag in the rock bivvy would have to be the best in the world. Sleeping amongst the rock climbers at Homer Hut would have to be the worst and required the best of earplugs. It was a very physical and adventurous shoot but I loved all those exciting South Island locations. Another highlight was staying in Plateau Hut beneath Mt Cook and having fun falling into crevasses and glissading down a steep snow slope. That trip finished with an arduous ascent of Mt De La Beche that included some ice climbing on crampon toe and ice axe points. That is certainly when I was happy to have a small light camera on board. NZTECHO Spring 2012 | 13

EXTREME CLOSE-UP

PROFILE: Murray Milne – camera (and Techos’ Guild Auckland branch member) How long have you been in screen production and how did you get started? I started in Wellington in the mid-70s. After a one-year still photography course at Wellington Polytechnic I got a job with Motion Pictures as a junior camera assistant working with cinematographer Graeme Cowley (Smash Palace, Utu, etc). We worked on the early New Zealand film Goodbye Pork Pie and after travelling the length of the country with that crazy gypsy troupe I was hooked forever. I left in 1981 to freelance as a focus puller and had a tremendous career here and in many parts of the world, assisting on commercials, docos and films. I began shooting short films and docos for crew friends which progressed to DoP with Peter Jackson on Meet the Feebles and Braindead. Both were shot on 16mm for blowup to 35mm. When Wellington became quieter I moved to Auckland around the early What strengths do you think the New Zealand industry has/what could 90s, doing mostly television series work and the change-over from film contribute to a more sustainable industry? to video. I then began investing in my own equipment. I think as long as producers and crew have respect for each other and What genre(s) does your work tend to come from? what strengths each brings to every shoot, then we will continue to have I am lucky to have several strings to my bow. I always enjoyed many a happy working relationship in this country that is better than many other adventure sports and was asked to take cameras into those situations. parts of the world. I also think our Kiwi ingenuity plays a big part in our It has meant continued involvement in unusual camera specialties such reputation as a ‘can do’ industry and we should remain an attractive filming as underwater, Steadicam and aerials. Because I work in so many roles destination for many years to come. I do find I am not reliant on just one area of the industry so fortunately I don’t have too many quiet patches. How easy is it to make a living in this industry/how often do you work outside the screen production industry? After over 30 years in this business I have endured many cycles of boom Professional and bust. But I have found work has become more consistent, with this many years of experience behind me. Lighting How does your department work as part of the ‘whole’ that other Services Ltd crew probably don’t realise? I think the cameraman should be involved with early location choice and can be especially helpful with setting up the ‘staging’ of the day’s shoot with respect to the sun’s path and making the pictures look the best they can, and to hopefully avoid any major problems with nasty shadows or other ‘difficult to fix’ situations that can be avoided with prior planning. NOW BRINGING YOU How have your rates changed/improved over the years? I believe we were paid better during the 80s than we are now, especially as the cost of living was quite a lot lower then. However, I think our passion for our type of work means we are still happy as long as we are working and getting paid for it. What sort of changes (e.g. in apprentice/newbie crew skill sets, abili- ties, other areas) have you noticed? Have you noticed any trends? I love seeing the enthusiasm the new and younger crew still have for our LIGHTING type of work. As we know, there are a lot of ‘wanna-be’s’ but very few places for new crew to start. So anyone who shows real enthusiasm is noticed and should be encouraged to keep trying. I also love seeing the second generation coming through, the sons and daughters of our Contact us for more information and pricing: original film industry stalwarts. I never thought I’d see the day that we Ph (09) 302 4100 | [email protected] | www.kelpls.co.nz have camera assists that are excellent at their job but have never loaded film – but that is happening now! ARRI | Kinoflo | Dedolight | Matthews | Lowel | zylight | Chimera 14 | NZTECHO Spring 2012

REGIONAL WRAP

Music videos will always be on the go around Wellington – keeping a lot of Take one – Auckland younger techos busy crafting their art to support our musician mates, and What a strange year. We’ve seen petrol reach peak prices, temperatures drop, good on them. volcanoes blowing off steam, the NZ dollar staying strong and continual rainfall Unfortunately a couple of possible projects rumoured to be passing through in the Auckland/Northland area. But, all in all, it’s been one of the busiest the Capital have been postponed or gone away. Typically though, Wellington winters for commercial film crew in years. Normally the Auckland market drops is bubbling with enthusiasm and pride. We’ve knocked off some pretty major off in volume of commercial work from April to September, but this year it films over the last decade and with some big names spending a lot of time switched completely. After a very wet and quiet summer the bookings for crew in Wellington, I’m sure the gap between jobs will be relatively short – here’s seemed to come in thick and fast from April 1 and are only just starting to lull a hoping. little now. It’s pretty impressive given the value of our dollar overseas. Dave Brown, Guild Wellington branch chair There have also been a few shifts with producers moving around town to take up residence under new roofs. Locally, Pacific Renaissance’s series of Take two (again) Spartacus continues filming and is due to wrap in October. We are all very Miramar’s on a roll – bloody good news for about half of the Wellington hopeful that two more projects will slot into place behind them. Power Rang- crew. Sir Pete’ reckons there’s three films in The Hobbit and we certainly ers has begun pre-production on their 10-month shoot, due to commence aren’t arguing. Best guess is that this will involve about three months of principle photography at the beginning of October. We’ve also had many crew shooting next year. In addition to the weeks of pick ups already scheduled. working on Harry and Blue Rose throughout winter, which has kept a fair few It seems all but certain that Avatar 2 will be at least partially shot in town as in continuous employment this year. well. The rumour is that anyone with underwater shooting skills might be in There are rumours of two more features heading our way between now and for a lucrative year. But, just a rumour for now. early next year. They always seem to be able to slot in somewhere picking up Meanwhile, back in the real world, Taika Waititi (Boy) is shooting a privately crew from all over the place, which in turn tightens the market for the com- funded feature, about which hardly anyone is saying anything. Either they’re mercial crew to pick up work. all too busy to chat or Taika’s brought down the cone of silence. We await Auckland has had a return of crew arriving back from The Hobbit in Wellington more news with interest. Vampires you say? Oh good. (well in need of a good sleep and a holiday) only to hear that some of them will As always, it’s a struggle to get the Auckland agencies to shoot an ad be returning for a shorter shoot of a third film next year. down here. We know we’ve got the best locations, the most co-operative All in all, between the normal ebbs and flows, I think the industry is still looking council and the best production facilities. But there has been a rumour healthy and relatively busy on the face of things given everything that goes against going around Ponsonby Road that you can’t get a crew in Wellington if Sir us as a remote country, with a strong dollar and limited personnel and resources. Pete’ or James Cameron are shooting. We know it is bullsh*t and to prove There is also an update of The Blue Book being worked on by several senior it, we’ve started www.crewwellington.co.nz. It’s a one stop site for all crew crew – in an attempt to keep it more current and relevant. It will take time but we and will soon be expanding into accommodation, vehicle rentals, catering are confident it will be easier to understand for producers and crew in the future. companies, etc. If you ever hear another Auckland producer saying ‘I’d like Sioux Macdonald, Guild vice president and executive member to shoot in Wellington, but…’ just type crewwellington.co.nz into their iPad and watch the scales fall from their eyes. Take two – Wellington It’s working. The phone is ringing, and we are fielding calls from companies Obviously it has been a very busy year or two in Wellington with The Hobbit looking to head down our way. films shot at Stone Street Studios as well as a couple of months filming Meanwhile, local features Existence and How to Meet Girls From a on locations in the South Island. A huge production on any scale, keeping Distance both sold out screenings at the New Zealand International Film hundreds of Wellington film workers busy, as well as techos from throughout Festival, with Louis Sutherland and Mark Albiston’s Shopping, and Rob the country (with a few of our Aussie mates thrown in too). It is always great to Sarkies’ Two Little Boys both coming out fairly soon. As always, Welling- experience a long period of paid work and I’m sure there are some well-earned ton’s bubbling along. holidays being had right now. Shooting finished about four weeks ago and Graeme Tuckett, Guild member last week saw most departments vacating Stone Street Studios. Pickups are rumoured to begin mid 2013 for a couple of months – we will all be looking forward to that. Take three – Queenstown The last three months in Queenstown have been a relatively sedate time for Taika Waititi has a shoot in pre-production now and due to begin filming in the majority of film workers based down south. The onset of winter has a a couple of weeks for about five weeks. Great to see films like this up and cooling affect on the flow of international TVCs coming our way (pun intended) running, with an incredibly talented and enthusiastic crew working hard to sup- port Taika. Many of the crew have come straight from The Hobbit – I’m sure and the lack of any consistent snow falls has dented our usually robust north- they will be fired up and rearing to go. ern hemisphere based snow shoots . I don’t have any other information regarding TVCs or possible doco work That said, we still had a few great jobs come through town, The latest Voda- (either in production or in the pipeline). I’m sure there will be a smattering of fone TVC featuring the young Maori actor James Rolleston (of Boy fame) TVCs between now and Christmas, something we all look forward to and re- being a standout . member with fondness those large ‘brand campaigns’ that kept the Wellington On the name dropping roll, we also had Korean actor Woo Sung Jung star in industry busy throughout the year. I can remember at least a dozen production a Korean TVC – he is number five in Korea for awesomeness and a really nice companies based in Wellington with about the same number of Agencies person to boot. There have been a few more Korean projects, a Japanese tyre pumping out TVC’s – oh well! job and an English based four-day TVC from Robbers Dog. NZTECHO Spring 2012 | 15

So, overall winter was a matter of survival. Luckily many of us techos were involved on the bigger jobs at the end of summer – Walking with Dinosaurs 3D and Top of the Lake, which both wrapped in June. The Techos’ Guild filling film On other fronts we had a good meeting in town last month organised by the and TV training gaps New Zealand Film Commission. A great turn out of folks meeting, talking and drinking the free booze! It gave us tech types a chance to meet the office The New Zealand Film and Video Technicians’ bound individuals who have to do all the leg work before the first shoot day. Guild will help plug industry training gaps for It also gave me a chance to meet some Southern Institute of Technology students from way down south who managed to talk me into giving them a film and television crew with a new series of two-day introductory course on gripping. What a great time we had! Although workshops. some of the first years had never even heard of grips – imagine that! Twelve sessions across Auckland, Wellington and Queenstown Looking ahead to the next few months, we have a double up at the end of will be held with funding from the New Zealand Film Commission. August, one more Korean job and a four-day shoot from Revolver films but Cinematography, visual effects, safety practices, industry standards, apart from that my calendar is pretty empty. A doco-style drama has made Maori protocol, set design and costume are among topics to be inquiries about shooting a piece on the Erebus crash but I am thinking the lack covered. Workshops are craft specific but will be geared toward of snow could hinder the project but fingers crossed. all crew, aiming to give them a better overall understanding of On the work rumour mill, I have heard of some Great Wall of China project screen production. and Walking with Dinosaurs may come back to shoot for two more weeks in summer but rumours are just something to talk about at the coffee shop. Guild executive officer Karla Rodgers says tight shooting sched- ules and budgets in the mainly freelance-based industry make any So that’s it from me in Queenstown. By the time this goes to print I should have a wee baby to look after with my wife Stacy – that will be work enough training on set difficult. “Freelancers are out there going at it alone,” for me for a while. Cheers. Rodgers says. “There isn’t a lot of time to think about the bigger picture or career development on the job so it’s great to be able to Joshua Dunn, Queenstown branch member offer an environment where crew can get together with other crew and learn.” Rodgers says competition for funding is tough in the industry and she is delighted to have secured some for the workshops. “These workshops are about crew developing both their own skills and also achieving better insight into overall production – it is beneficial for the industry as a whole.” Workshops Behind the DOP (working with your cinematographer), What’s Real and What’s Not (live actions and visual effects), Let’s Really Understand (the legal and industry requirements of safety, fair work practices and Maori protocol) and Mise En Scene (setting the scene) will each be held in Auckland, Wellington and Queens- town – the Guild’s three branches. Dates and venues are yet to be announced. The Techos’ Guild is a non-profit organisation representing the JIBS interests of screen-production crew. It began as the New Zealand TECHNOCRANES Motion Picture Academy (NZMPA) in 1977 and runs mostly on DOLLIES membership subscriptions with the help of some funding and CAMERA SUPPORT sponsorship. It has over 400 members working in production, TRUCKS camera, sound, lighting, grip, makeup, wardrobe, art department, SCREENS location management, script supervision, onset health/safety, HELICOPTER MOUNTS special effects, editing and post production. Award-winning past STUDIOS and present members include costume designer Ngila Dickson and cinematographers Alun Bollinger and Leon Narbey. Bollinger is also the Guild’s president. 09 8181981 The Techos’ Guild’s Safety Code of Practice and The Blue Book www.dolly.co.nz have set the standard for working in the New Zealand film industry. PO Box 8068, Symonds St, Auckland 1150 The publications underline rules around fair and safe working condi- 9A Akatea Rd, Glendene, Auckland 0602 tions for film and television workers in New Zealand. 16 | NZTECHO Spring 2012

POINT-OF-VIEW

Let’s keep the light burning The public perception of film producers is that we’re all well paid and stand to make a killing if our films are highly successful. Unfortunately it’s not true for most of us, says producer, director and writer Tui Ruwhiu.

It’s a Herculean task for independent film producers based in New Film piracy is theft, plain and simple. Film producers need a world with- Zealand to get a feature made, let alone deliver a return. out it. Traditionally, producers apply to the New Zealand Film Commission This article is supplied courtesy of Tui Ruwhiu, an independent producer, for the majority of development and production funding and leave it to director and writer who has worked in the New Zealand and international the commission to handle international sales. The established film film sector for 21 years. His film projectWero: Ultimate Challenge was distribution system provides the means to recoup costs and hopefully selected for presentation at the 2012 Beijing International Film Festival, share the profit should the film prove successful. Pitch and Catch. The alternative to government funding is to find private development This article has been previously published in The Dominion Post. and production investment. Although possible, this is not an easy task. For the majority of producers, earning some sort of living is a primary concern. Most earn fees in production because there’s little or nothing for us in the development process. But, as is often the case, it’s the producers who have to defer fees first to get the picture finished. If we do have to forego fees then the only opportunity for producers to be rewarded for their work is through a slice of the revenues generated by box office, television, DVD, Blu-ray, video on demand, in-flight enter- tainment and other existing revenue streams. But producers’ chances here are meagre if not nonexistent. Promotion and advertising costs, international sales agent and distributor fees, deferments, financing, equity recoupment, profit shares with investors, creatives, cast and the myriad other entities and individuals who get bites of the backend must be paid first. The advent of the digital age, however, has provided producers with viable alternatives to the traditional business model, primarily for low and micro-budget features. Crowd-funding websites can also help deliver the development and production funding a filmmaker requires. Certain peer-to-peer distribution entities allow a content creator to choose to digitally distribute their content for free and look to viewers to pay what they choose for the viewing experience. But this is a gamble the filmmaker takes to recover the production costs and more. Producers live in the eternal hope that there is some sort of revenue light at the end of the tunnel, no matter which way we have chosen to go, otherwise we wouldn’t be producers in the first place. Film investors whether government or private, see that far-off shimmer too. All recognise film is high risk. But the chances are there for return, no matter how small. Today, particularly in small markets like New Zealand, producers have to exploit the full gamut of opportunities – traditional and non-traditional – to fund feature film development, production and distribution and to enable us to make a living. For producers who choose a path where revenue streams from content sales are vital to pay for the film’s production and distribution (and hope- fully give them and their investors some kind of pay day), piracy snuffs out that light. It takes the money away from those who have earned it — often with blood, sweat and tears — and puts it in the pockets of those who have no claim whatsoever. NZTECHO Spring 2012 | 17

SAFETY NOTES

Don’t forget to look after YOU! All jobs take a toll on your health and wellbeing in some way or another. Couple this with an industry involving long hours, heavy lifting, extreme personalities, tight deadlines and financial instability – it can all add up to a recipe for disaster if not managed properly. NZTECHO takes some pointers from Wellington’s Willis Street Physiotherapy. It may be that you are carrying heavy equipment around or using it in • If you have had a busy physical day, explain this to your sports coach awkward positions. You may be sitting at a post-production desk for long at training that evening so that you can do something else rather periods of time. You may be standing for hours on end reaching and bend- than risk further injury and missing your game in the weekend. If you ing while applying makeup or doing hair. You may be driving a vehicle for have had a heavy ‘sitting’ day you should not spend the evening sitting long distances. You may be loading or unloading equipment. Anything that undertaking your particular hobby or social networking on your wire- is in general repetitive. less device. Of course there are other stresses like long hours, working in challenging Work layout/awkward postures environments/conditions and difficult work place relationships with col- Can you: leagues or bosses. While certainly these mental stresses along with repeti- tive sitting, standing, lifting or handling can largely impact your health and • Think of ways to reduce awkward aspects of your job? You may well being, it is also important to consider that other factors also play a big want to consider a sit-stand desk if you sit all day. You may have to do part. Home lifestyle, stresses and choices included. There is the daily lifting specific ‘undo’ stretches or exercises if you find you are always reach- and handling involved with everyday jobs at home – loading/unloading ing or turning to one side. dishwashers or washing machines, reaching into cupboards, hanging out • Think about the design of your house, the type of dining/lounge washing, making beds, lifting children, bending to bathe/change babies or furniture, the set-up and layout of your lounge and TV. The postures even carrying out hobbies and socialising. Top this off with financial pres- you adopt when relaxing at home. sures, maintaining personal relationships and looking after family matters. Task invariability Your health and well being is impacted by a combination of many factors. All-in-all there is a lot going on. Can you: • Talk to your colleagues/boss to identify areas where you could So what can you do? improve the job so that you can cycle through tasks and postures so There are seven categories to describe where health and wellbeing risks that there is more variety and less sustained positions? lie. The categories are important in emphasising that discomfort, pain and • Reduce your TV watching, hobbies, gaming or social networking at injury is not just related to sitting, standing, lifting or handling at work. Take home if you have had a particularly very busy sedentary day at work each category and identify what you can do to reduce your chance of and even better go for a walk, swim or cycle? discomfort, pain or injury. Remember these involve home as well as work. • Reduce your DIY in the evenings or weekends when you have had a Individual factors very busy day/week of lifting and handling at work? Can you: Load/forceful movements • Improve your diet, hydration, health and fitness? Can you: • Get to bed earlier, get a massage or have a spa or hot bath to help • Reduce the force and therefore the chance of discomfort, pain or relax tired or overworked muscles? injury by using correct lifting and handling techniques, contracting • Give up smoking? the core muscles, using two man lifts as necessary, keeping the load • Stand up often to break up sitting? close to the body and avoiding twisting? This applies to home and • Get your eyes checked? work. Psychosocial factors Environmental issues Can you: Can you: • Improve your relationship with your work colleagues, boss, partners or • Talk to your work regarding temperature, ventilation, lighting? in-laws? • Ensure that your home is also warm and dry and dust free? • Remember that discomfort or pain is normal and may not necessarily Remember discomfort, pain and injury is multi-factorial. If you can adjust, be as bad as it feels. To actually go out for a walk or swim may actually reduce or eliminate any contributory factor then it will lessen your chance help you. of discomfort, pain or injury affecting your life. If you have discomfort, pain or injury that is not improving, do something about it - see your local doctor Work organisation or physiotherapist. Can you: • Talk to your colleagues or bosses to try to find workable solutions so Article provided by Willis Street Physiotherapy, that you do not get too overwhelmed or stressed? www.willisstreetphysiotherapy.co.nz 18 | NZTECHO Spring 2012

MEMBERS WITH BENEFITS

Covering the unknown Insurance is not something we like to think about and often we don’t until it is too late. Crombie Lockwood’s Andrea Clout tells NZTECHO why public liability insurance is increasingly becoming a must for film and television freelancers. For many years now the Techo’s Guild has recommended that its members take advantage of the scheme it has arranged for liability in- Note from a Guild member surance. As a sole trader or company operating in the film industry, the I’m a Techos’ Guild member and I thought I’d just drop you a line law assumes you know what you are doing and that you are competent to let you know I got a great result from Crombie Lockwood this to do it. So, if you are say, a lighting specialist, and you erect your hot week. I’d been paying a broker for my public liability and equip- lights too close to flammable material which catches fire you will be ment risks policies for the last few years – I hadn’t looked into the directly responsible for the resulting damage which could destroy the Techos’ discount as it all seemed too hard and I figured that I’d property you are working at. The insurers of the property will look after been with my broker for so long so I must be getting a good deal! their client and then come knocking on your door seeking recovery. This However after the recent earthquake levies increases my premi- is where your public liability policy enters the scene. You advise your ums increased by about 50%. I was forced to look elsewhere as it liability insurer that a claim has been made on you, complete the neces- seemed extortionate! I’ve just signed up with Crombie Lockwood, sary paperwork and your insurer then fights the battle for you including after some great hassle-free customer service and am happy to the settlement of legal fees. In most cases it is pretty clear cut and report I’m paying 70% less than what I was previously paying! the insurers sort it out between themselves. In a small percentage of The added bonus is that the cover is specifically tailored to film cases neither side can agree who was responsible and the case ends and television crews. Also, they’ve already included their increased up before a judge who makes a call one way or the other. This is why earthquake levies into the premiums. no broker can ever be absolutely sure on the outcome of any particular Thanks. Jeremy Masters claim as the law constantly changes as judges set new precedents.

Another example. If a friendly neighbour answers a call to help change whether it be for the vehicle or any damage caused to others. a tyre and does not put the nuts back on properly and the obvious Also available as extensions to the Guild scheme are covers for employ- happens that will probably (aside from the personal trauma) almost ers’ liability, statutory liability and personal accident covers – more on certainly be considered just an accident. If a garage changes the tyre those in later editions. they supposedly know what they are doing and will cop the total cost of the damage that occurs. The Guild has arrangements with insurance brokers Crombie Lockwood NZ Limited (formerly Mahony Trendall and Jack) for public liability and We are aware that recently there have been comments within the film statutory risk insurance cover, an exclusive liability package with excel- industry regarding working hours. The public liability policy is silent on lent rates for members. this issue. However, there are specific rules if you are driving a vehicle and you need to be aware that in any vehicle accidents the liability To learn more about the scheme or if you have any queries on the issue falls under the motor vehicle policy not under the public liability. above article, please contact Andrea Clout on (09) 623 9963 or If driving outside the legal driving hours, you should be aware that the [email protected] and quote your Guild motor vehicle insurer has the ability to decline all claims made on them, membership number.

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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 Join the Guild today online at www.nztecho.com, or fill in the form below and send it back to us. 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.

Name Trading name

Address/PO Box City/town Postcode

Phone ( ) Mobile Email

Years in industry Gender (optional) n M n F Age (optional) Department / Craft Group: n Accounts n Assistant Direction n Grip n Post Production (incl. Editing) n Sound n VFX n Alpine Guiding n Broadcast n Lighting n Production Office n Special Effects n Webcasting n Animal Wrangling n Camera (Film & Video, Autocue) n Locations n Safety n Technical Direction n Other n Animation n Catering n Makeup & Hair n Script & Continuity n Transport n Art n Costume n Medics & Nursing n Set Construction n Unit

Membership status: n New member n Renewing member Membership no: n Student member* (include proof of study) Year of commencement:

Payment information: Membership is $243 for 12-months (incl. GST). You will receive a membership pack including The Blue Book, the Safety Code of Practice, a Techos’ Guild membership card (to access all our wonderful member benefits) along with ongoing support and advice. Payment can be made online to ASB 12-3048-0251160-00 (use your name as reference) or by credit card by phoning (09) 302 2022 or 0800 832 467.

How did you find out about the Guild? n Online Recommended by Other

*If you are currently studying or have just graduated, you can receive our 50% discount. Email [email protected] for further information. Return this form to NZ Film & Video Technicians’ Guild at PO Box 68 294, Newton, Auckland 1145. 20 | NZTECHO Spring 2012

NEWS REEL

The strategy has six key objectives for the screen production sector Screen and digital strategy for including cross-sector collaboration, creating an optimum regulatory Auckland environment, developing innovative technologies, production and management processes, increasing sector infrastructure, ensuring a A partnership between game and digital media developers and Auck- sustainable supply of talent and implementing a sales and marketing land’s film industry aims to increase the city’s economic potential approach. across the wider screen and digital content sector. NZ Game Developers Chairperson Stephen Knightly describes the The newly formed Auckland Screen and Digital Content Sector strategy as future proofed and inclusive. “It covers the whole screen (ASDCS) is seeking industry support and feedback on its strategy. including film, animation and the fast-growing games sector, and has The group is made up of ATEED, Film Auckland, Creative Digital an eye on the future as the screen industry continues to go digital,” Content (CDC), the tertiary sector, NZ Game Developer’s Association, he says. New Zealand Trade and Enterprise along with other members from the Oktobor Animation co-founder and CDC co-chair Dan Wang says screen industry. The ASDCS leadership group developed the strategy he is encouraged by the motivation and the resolve of the ASDCS and will implement it. Strategy. “With a well-timed delivery of this strategy Auckland has ASDCS co-chair and Trigger Happy CEO Shona Grundy says the an exciting opportunity to capitalise on the tremendous aptitude and strategy is a cohesive blueprint to boost their combined contribution to potential locally. Now is the time to forge our identity as the hub for the city’s economy. It’s the first time the sectors have come together. high-end digital content, services and technology to both the estab- “Nationally the screen sector contributed almost $3 billion of gross lished West and the emergent East.” revenue in 2011, of which almost $2.2 billion came from Auckland. But Feedback can be sent to [email protected]. The current screen production sector statistics don’t include digital content strategy is considered to be in ‘perpetual beta’, giving the group flexibility and high-value technology sectors such as gaming, digital media and for ongoing review. It will be formally reviewed on an annual basis. software development. This strategy broadens the definition of the sec- tor to include these increasingly significant areas.” Ms Grundy says the screen production sector is a growth area. “Its Guild helpers needed growth potential is increased exponentially when the high value digital The Guild has made a very active effort this year (under new executive content sector comes into the picture.” officerKarla Rodgers) to increase its membership. As you’ve already The ASDCS Strategy is action focussed and has been developed heard, there has been some great success in applying for funding to by industry for industry, she says, with support from ATEED and its assist with a series of workshops set up to educate crew in all fields subsidiary Film Auckland. over the next 12 months. The Guild is very keen to hear from any Film Auckland Manager Michael Brook agrees it is an exciting step and production crew who could spare some time to help Karla co-ordinate says it seeks to redefine and grow the sector. “Importantly, the strategy workshop logistics. The workshops are tailor-made to inform and en- is clear on its goals and deliverables and contains a specific action compass all areas of screen production. Please email info@nztecho. plan for 2012/13. We look forward to working with the other industry com or phone (09) 302 2022 if you can help or if you have informa- members to turn this into results.” tion/skills that could be entered into an upcoming workshop.

GOLD STARS & CHOCOLATE FISH

Big thanks to the following people for supporting and helping the N Dave Madigan for ongoing advice and computer support. Techos’ Guild! N Mike Lougheed for support around public liability matters. N Sioux Macdonald for ongoing support to both Karla and Carolyn, N Sharon Feenstra (non-member) for proof reading and editing providing office space for Guild accounts and for theNZTECHO support. regional wrap. N Dave Brown for the NZTECHO regional wrap. N Ken Saville for speaking to recent recipients of Film Commission N Murray Milne for contributions to NZTECHO mag. Escalator Funding about the Guild. N Albol for extra contributions to NZTECHO mag. N Josh Dunn for speaking to Southern Institute of Technology students about the Guild and also writing the NZTECHO regional wrap. N Brendon Durey for accounts support. N Nick Treacy and Lou Taylor for speaking to AUT students about the N Narelle Wilson and Mark Gillings for organising the Queenstown Guild. meeting. N Jules Lovelock for sorting the Wellington branch meeting along with N All the members that keep us updated with contact details and other folllow up minutes and issues. information. NZTECHO Spring 2012 | 21

NEW MEMBERS

Join us in giving the following new members a hearty welcome! Auckland Blair Teesdale, lighting Fraser Satherley, sound Alex Jenkins, lighting Kathryn Lees, art Wellington Graham Nixon, special effects Jen Metcalfe, editor Ronnie Hape, unit Queenstown NATIONAL EXECUTIVE BOARD Sam Spooner, student Brian Hall, alpine guide President Daniel Wagner, camera Alun Bollinger 03 732 8123 Lyra Stewart, editor Vice President Sioux Macdonald 021 969 609 Treasurer Brendon Durey 021 866 977

Auckland Chair (interim) 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 Spring 2012

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