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contents MARCH 2011

Views 4 A private view Columnist Doug Coutts and cartoonist Barry Linton duck for cover.


5 Editorial A quick word from new editor Steven Shaw; cartoonist Andy Conlan farewells a local character. 6

Industry news


Documentary Edge Festival 2011

Doc Edge festival co-founder Alex Lee reports.


Trademarks part 2

COVER: Michelle Ang as Emily Chu in Roseanne Liang’s romantic comedy My Wedding and Other Secrets, released nationwide on 17 March.

Philip Wakefield rounds up box office, TV ratings and news from the TV and film industry.

 ore on trademarks from legal columnist David McLaughlin M of McLaughlin Law.





11 Across the ditch Columnist James Bondi surfs through news from the Australian screen industry. 12

Cover story: Secrets and Brides

Onfilm chats to director Roseanne Liang about her first feature film, romantic comedy My Wedding and Other Secrets.

15 Notes from Rotterdam Producer Matt Horrocks reports on the 2011 Rotterdam Lab, where the emphasis is on independent film.

Image capture and post-production feature 17

Alive and Kicking


Post-production roundup

Volume 28, Number 2 

Digital vs film – Peter Parnham provides an update on the camera wars as new digital motion picture cameras and improved film stock hit the market.

Leading NZ post-production houses share news of recent work and developments with Onfilm readers.

Production listings

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MARCH 2011


w e i v e t a A priv Ducking for cover A few years ago I was fortunate enough to attend a SPADA conference (fortunate in by doug coutts that I didn’t have to pay the exorbitant registration fees) and sat in on a presentation by one of the head honchos of a television network. The network was, she announced, braindead. Several members of the audience nodded in agreement and went back to sleep. Of course she’d actually said “branded”, which in itself is quite enough to cause hardened cynics to nod off or at least look for a patch of wet paint to observe. Branding is one of those fashionable concepts; it is extremely important to marketing consultants and their unsuspecting clients and impenetrably dull to the people who have to suffer it. Television network executives are well known for their insecurities and susceptibility to sure-fire schemes – one suspects that if they’d been around 400 years ago (and several look like they might well have been), they would have signed up for a new suit of clothes just like the ones the Emperor bought. Board meetings would have had a whole new dimension, perhaps several. One lot of network execs reportedly paid a squillion dollars to some Yank who told them the only way to increase their share of the market was to have a weather update every 30 seconds in the main news bulletin, while another was assured,

quite possibly by the same bloke, that changing their target audience by adding another year to each end of the scale would have the advertisers beating a path to their door. To offset the expense of that second piece of advice, the network involved was able to save a bundle in typesetting costs by removing the letter C from its letterhead and logos, which would have been extremely helpful given the state of their coffers… except they blew it all, and more, on buying an enormous inflatable duck. It’s not hard to work out the significance of the duck – just like its smaller bathroom-based brethren it’s too big to go down the gurgler after someone pulls the plug, thus conveying the impression of a new era of confidence and bullet-proofiness. It was designed by a mad Dutch artist, renowned for “integrating intriguing and interactive oversized installations into public spaces all over the world” while simultaneously integrating oversized sums of cash into an un-numbered account across the border. (I found that last bit out thanks to Google, an essential research tool as evidenced by the increasing number of glaring factual errors in all forms of the media.) At the new-look channel the poultry motif continues, albeit with a slight change of spelling and a dazzling array of programming changes. It’s out with the old and in with the … well, same old, just shuffled about a little and with new graphics. The hoary old music vids linked by a couple of overenthusiastic ADHD youngsters have disappeared and in their place there’s … guess. To be fair (an unusual occur-

rence in this column) the hoary old music vids have mostly gone and the youngsters are getting on a bit. The purpose of any rebranding is to give its recipient an edge, and a major point of difference. In this case the major point of difference is that it’s now exactly the same as the competition. Before you scoff, or while you’re scoffing, let me just point out that this concept of the same but different works for commercial radio so why not commercial television? Of course it only works in radio because a consultant somewhere redefined the word “works” as “fails, but not too disastrously”.

The good thing about rebranding, as any marketing consultant knows but won’t say, is you only need two ideas. So next year expect Mediaworks to increase the number of weather updates on both channels 200-fold and the state broadcaster to identify those aged between 16 years three months and 47 as its key market. The only surprise will be what they use to outmode the rubber ducky, but sources deep within the Victoria St bunker report that two old cat and kiwi costumes have already been located and sent to the dry cleaners. It’s an idea that’s crazy enough to be billable.


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MARCH 2011


e t o n s ’ Ed A quick word from the new guy

Andy Conlan’s view


his is my first issue as editor of Onfilm and so far I’m having a ball. You see, film and television have always been very close to my heart. As a kid I would hoard copies of Forrest Ackerman’s Famous Monsters of Filmland magazine, eagerly reading interviews with early special effects wizards. That curiosity extended to the behind the scenes magazines of the late 1970s and early 1980s, magazines like Starlog (and from the UK, Starburst) that followed the wave of science fiction flicks released after the runaway success of Star Wars. Yes, I was a 1970s’ sci fi nerd. I was also spotty and too young to drink in bars. Regardless, it was the start of a lifelong fascination with screen production. For me the sense of wonder and admiration at what can be achieved by film makers has never diminished. That’s across all genres, including documentaries, TV drama and comedy, short films, and feature films. Plus, I’m a sucker for a good story. So I’m pleased as punch to be in the Onfilm editor’s chair, hearing stories from those directly involved in NZ screen production. Not to say it hasn’t been a tough month, with plenty to pause and think about. The death of actor Frank Whitten in February saddened much of the acting and production community. Many people – friends, colleagues, fans – turned out for a memorial service held in Auckland. His performances in Vigil, Outrageous Fortune and as the Speight’s beer Southern Man will long be remembered. I’ll wager many glasses were raised in his honour. However, Whitten’s passing was soon overshadowed by the tragic loss of life in the Christchurch earthquake. Although there was huge support nationwide for the plight of Christchurch, emotions were charged and public sentiment was volatile, especially towards TV news coverage. TV3’s live, unedited coverage was criticised for being sensationalist yet they were showing the truth from right outside their doors. With crippled offices in Christchurch, TVNZ was unable to take the same approach but was lauded for being more reserved. Many New Zealanders gave money, food, labour or time to help out. In the screen production sector, several post houses, production companies and others pooled their money to send portable shower facilities to Christchurch. Some people went in person to muck in and shift bricks. It has been heartening to see and a welcome reminder that when it counts, Kiwis still have each other’s backs. In this issue we look at the Documentary Edge festival held over February and March in Auckland and Wellington. Documentaries are said to be a great


training ground for future feature film directors. Doc Edge trustee Alex Lee looks back at the Auckland festival, the award winners and the annual forum and lab. Onfilm also chatted with Roseanne Liang, who has adapted her autobiographical documentary Banana in a Nutshell into romantic comedy My Wedding and Other Secrets. That’s right; yesterday’s documentary maker is today’s feature film director. And keeping the film versus digital debate alive, Peter Parnham points out the ways in which film stock manufacturers are trying to keep their product affordable and relevant. We also have a Q&A on post-production, in which we asked some of NZ’s leading post houses to provide a summary of what work has been heading through their suites. There’s plenty to read, so best you get on with it. And don’t forget to stop by www.onfilm. for industry news, updates and reviews. Cheers!  – Steven Shaw

Hunting the Hobbit

fter months of rights wrangling, industrial turmoil, prime ministerial intervention and directorial hitches, The Hobbit starts filming at Peter Jackson’s Stone Street Studios from March 21. The production isn’t revealing locations other than Hobbiton, in Matamata, for the time being. Hobbiton was going to be one of the first locations until Jackson’s hospitalisation for a perforated ulcer delayed the start of principal photography. Rather than risk weather complications by filming at Hobbiton in autumn, the US$500 million prequel to The Lord of the Rings won’t be based there until nearer summer 2011. Jackson’s ill health stopped him attending the February 11 press conference to announce production of The Hobbit. But among the cast who turned out were Martin Freeman (Bilbo Baggins), James Nesbitt (Bofur), Richard Armitage (Thorin), William Kircher (Bifur), Peter Hambleton (Gloin), John Callen (Oin), Jed Brophy (Nori) and Mark Hadlow (Dori).

Freeman, who starred in The Office and is riding high in Britain on Sherlock, which TV One will air this year, said playing Bilbo was the role of lifetime. Other cast members include Ken Stott (Balin), Graham McTavish (Dwalin), Sylvester McCoy (Radagast), Stephen Hunter (Bombur), Rob Kazinsky (Fili), Aidan Turner (Nili), Adam Brown (Ori) and Mikael Persbrant (Beorn) Resuming their Lord of the Rings roles for the two movies will be Ian McKellen (Gandalf), Elijah Wood (Frodo), Cate Blanchett (Galadriel) and Andy Serkis (Gollum) while Orlando Bloom has reportedly been in negotiations to play Legolas in a cameo. Subject to health, 88-year-old Christopher Lee will return as Saruman. Rumoured to also have roles are Ian Holm, Brian Blessed, Leonard Nimoy and David Tennant. Jackson’s long-time DOP Andrew Lesnie (The Lovely Bones, King Kong, Rings trilogy) is the cinematographer.

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The Almighty Johnsons © South Pacific Pictures Ltd. Photographer: Jae Frew.

Industry news With Philip Wakefield Box office Love Birds opened in second place at the box office but could have soared 20% higher in its first weekend if not for the Christchurch earthquake. The Paul Murphy comedy averaged $2755 on 55 screens to gross $181,173. This figure includes unreported Valentine’s Day previews. “Positive four-star reviews from all key broadsheets, along with positive consumer word-of-mouth is helping to drive a good result,” says Elizabeth Trotman from distributor Hoyts/ Icon. “There is a solid campaign in the market place including TV, radio, web and press advertising. This is cemented by the extensive publicity and promotions in place

with partners such as Auckland Zoo and Contours.” Trotman was hoping for a $1 million to $1.5 million total gross for the movie, but says “we have lost 20% of the box office, with all cinemas in Christchurch closed due to the earthquake”. “New Zealanders are understandably feeling very sombre about what has happened in Christchurch and that has meant the result for this Kiwi romantic comedy is softer than my expectations as many people have stayed home to watch the news and stay informed. It’s a great film that hopefully can add some cheer to our national mood.” The box office nationally was

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MARCH 2011

down from $1.435 million for the same weekend last year, to $1.198 million. TV viewing At press time TV3 was at last starting to reap payback for its new-season schedule and the launch of key local shows. Flagship The Almighty Johnsons started strongly on February 7 but progressively lost viewers until bouncing back on February 28 to win its 9.30pm slot in the major demos: 9.1% of 18-49 year-olds, 9.9% of 2554 and 13.5% of household shoppers with kids. It even beat TV2 in its own 18-39 demo, with 9.5%. The networks’ other NZ newcomers haven’t fared as well. The Taika Waititi-directed comedy Super City, starring Madeleine Sami, opened with 7.4% of 18-49, 7.2% of 25-54 and 9.5% of shoppers, only to lose up to half of its viewership in the following weeks. However, even its season average in the 10pm Friday slot was higher than Bigger Better Faster Stronger, which screens 8pm on Mondays. In its first month it could muster only 4.7% of 18-49, 5.4% of 25-54 and 6.8% of shoppers. But, like The Almighty Johnsons, its

fortunes improved in week five, when on TV3 alone it rated 5.9% of 18-49, 6.5% of 25-54 and 7.6% of shoppers. This could have been because of a higher-than-usual lead-in from TV3’s extended coverage of the Christchurch earthquake. Two new commissions on TV One also have had mixed success. Both Coasters  and  North  started well in their 7pm weekend slots but ratings for each went south after their premieres, rising again only on the back of higher ratings for the earthquake-driven news bulletin leadins. North fared the better of the two, averaging 12.8% of TV One’s target audience of 25-54 year-olds, and winning its slot. Reaction Reviews for the NZ shows also were mixed. The Sunday News thought Madeleine Sami’s portrayal of five characters in Super City produced “edgy yet heartfelt satire” whereas the Dominion Post said after the premiere, “So far only two of the five characters … warrant further investigation”. The Herald on Sunday dubbed The Almighty Johnsons “a supernatural Outrageous Fortune” that works best when “just being bawdy and funny rather

News than providing a searing commentary about the soullessness of modern suburban life”. The Press thought the premiere had “a strong objective-based plot that will keep viewers coming back week after week” but Onfilm’s Helen Martin disagreed, paraphrasing one of the characters in her review: “You are seriously mental if you think I’m falling for this crap!” Getting older This year TV3 is trying to take its audience older, targeting the same 25-54 crowd as TV One, and leaving 18-49 to rebranded sister channel Four. As a result, some of TV3’s key series, like The Simpsons, have switched to Four, while the network has given staples like House, CSI and Bones new slots that viewers have been slow to discover and which, at press time, have just started to gain traction. Some newcomers, like Hawaii Five-O, have misfired against competition like TV2’s Go Girls, while one of TV3’s first casualties, the ad industry-oriented The Gruen Transfer, was simply a bizarre choice for primetime Sunday. It has since been replaced by the more compatible The Good Wife. Despite arguably having its strongest new-season schedule ever, TV3 trailed both TV One and TV2 in the major demos for the first four weeks. The season officially started in the first week in February, with TV2 winning the 18-49 and 25-54 demos most weeks, even though its core audience is 18-39. TV3’s highest average peak share came in the week ending February 26, when the network’s extended earthquake coverage helped it to score 22.9% of 18-49 (vs TV One’s 25.8% and TV2’s 26.2%), and 23.1% of 25-54 (vs TV One’s 27.6% and TV2’s 24.2%). Previously, it barely rose above 20% of either demo. While TV3 has taken a beating initially, Four has benefitted from its spruced-up schedule, with its

February 6-27 peak-hour 18-49 rating up 12.9% to 1.7%. 15-39, Four’s previous benchmark, and household shoppers with kids, also were up. Post review NZFC The final shape of a post-review NZFC won’t be known until reviews of the Large Budget Screen Production Grant and Screen Production Incentive Funds schemes have been completed. Reforms springing from the Peter Jackson-David Court review of the NZFC were to have been announced by now. But consultations with the industry were interrupted by the row over The Hobbit, and with the NZFC already having made key changes as a result of the report, bureaucrats believe it makes more sense to link other initiatives with recommendations from the incentives reviews. The SPIF scheme was to have been appraised first but this has been pushed out to coincide with the LBSPG review; both will be completed by June 2012. As a result, the Ministry for Culture and Heritage, with the Ministry of Economic Development, is working on a comprehensive overview of industry mechanisms, with plans to consult the industry widely about their effectiveness. They will make a joint progress report to Government at the end of the month. ThinkTV The rebranded NZ Television Broadcasters Council will be officially launched to ad agencies this month as ThinkTV. Whereas the TBC was primarily concerned with lobbying and regulatory issues, ThinkTV adds a marketing focus. “ThinkTV was conceived nine months ago by the TBC,” chief executive Rick Friesen says. “We felt it best to start marketing the medium of television a little more aggressively with agencies and advertisers. At the same time a rebranding was in order.” ThinkTV still represents the

interests of the same free-to-air broadcasters as the TBC, which was set up in 1998. But it is now considerably better resourced, with a marketing director, general manager and administration/web manager in addition to Friesen. “A year ago it was just me part-time,” he says. He points out ThinkTV isn’t just a rebranding to capitalise on the rebound in FTA ad revenue. “It’s a long-term view of what we have to do to keep TV relevant and effective in advertisers’ and agencies’ minds.” Figures released last month by ThinkTV show TV ad revenue jumped 6.6% to $606.7 million in 2010, which was $37.5 million up on 2009. “After feeling the effects of the economic downturn and tightened marketing budgets, television has bounced back with an impressive performance in 2010,” Friesen said in a statement. “The June quarter posted the best performance with 11.27% growth but with the final results just in for the December quarter, we are happy to report a 6.6% increase across the year.” Total revenue for the December quarter was $171 million, which was a 4.2% increase on the same period last year and the networks are optimistic about a stronger 2011 with the Rugby World Cup in September and October.

and grossed $155,537. The NZFC will be relieved that Love Birds is off to a flying start compared to the year’s first Kiwi release, Hopes and Dreams of Gazza Snell, which in its first weekend grossed $24,566 on 23 screens and amassed $69,223 in total. Scheduled to open next are My Weddings and Other Secrets, on March 17, and Tracker, on April 21. Sony Pictures is handling the former, and Paramount the latter. Meanwhile, the Indian-Kiwi movie shot in NZ, Curry Munchers, starring Shortland Street’s Ben Mitchell, opened the same weekend as Love Birds, grossing $10,819 on seven screens, averaging $1545 a screen compared to Love Birds’ $2755.

Rhys Darby in Love Birds.

Love Birds off to flying start Love Birds’ opening weekend gross was the third highest for a NZ movie since Boy kick-started its record-breaking $9.3 million run with $607,471 a year ago this month. Home By Christmas, which opened a month after Boy, pipped Love Birds with $189,792 on 57 screens and went on to gross $1,151,589. The rest of the 2010 theatrical slate was disastrous: Matariki opened with $3652 on two screens and grossed $17,841; After the Waterfall opened with $15,174 on 15 screens and grossed $63,279; and Predicament opened with $58,396 on 51 screens

MARCH 2011



Standing at the Documentary Edge Festival co-director and Documentary NZ Trust co-founder Alex Lee reports on the growth of the Documentary Edge Festival, now in its sixth year.

Outstanding Contribution to the NZ Documentary Industry winners (L to R) Leanne Pooley, Arani Cuthbert, Sumner and Tom Burstyn.


his year, 2011, marks the sixth edition of the Documentary Edge Festival and the fifth edition of the Documentary Edge Forum. A total of 64 films from 20 countries featured at the festival, which played across three venues in Auckland and two venues in Wellington. In an effort to have consistency with format and quality, the Documentary NZ Trust developed its own computer system to store, programme and screen using hard drive files. The majority of films were supplied or converted to hard drive files and a few played on 35mm. Filmmakers were very pleased with the quality and the system allowed us more control over the delivery of the films. Already, other festivals are enquiring about hiring or licensing the system. At the Gala evening, held at The Studio in Auckland, we were delighted to award the 2011 “Outstanding Contribution to the NZ Documentary Industry” to two documentary films. Tom and Sumner Burstyn took an incredible journey as independent filmmakers with This Way of Life. The film generated a great community and online support, and was shortlisted for the 2011 Academy Awards. We watched as a small independently funded Kiwi film roared to take on big budget international films, many of which were extensively funded by their own national film agencies. The second recipient was The Topp Twins: Untouchable Girls. Arani Cuthbert 8

MARCH 2011

breathed life into the project when she pitched it at our DOC Pitch in 2007. Following the pitch, she paired up with director Leanne Pooley, who was also attending the forum. The film went on to be a runaway box office success and brought the word “documentary” into the vocabulary of the average Kiwi cinemagoer. Documentary Edge Festival audiences were thrilled by local films including Dirty Bloody Hippies and Is She or Isn’t He?, commissioned by TVNZ, I Am the River, commissioned by Maori Television, independent films like Stand Up, The Jade Bell Story and Hiding Behind the Green Screen, alongside diverse internationally acclaimed films like Oliver Stone’s South of the Border and Hey Boo – Harper Lee and To Kill A Mockingbird. The festival opened to a full house in Auckland with Alexandre O. Philippe’s The People vs. George Lucas. Alexandre attended the opening night and DOC Lab after touring many festivals with his film and said “I can confidently say that Documentary Edge is one of the very best on the circuit. You have created something truly special.” We had no shortage of good films to choose from and we believe this is partly because the festival has matured to become a major international competitive festival. Films were submitted via WithoutABox (www.withoutabox. com), recommended to us by overseas scouts and submitted directly by sales agents and distributors.

It’s unfortunate that currently only one festival in New Zealand is recognised by the NZ Film Commission as qualifying films for post production funding. As part of the Documentary Edge Forum, projects are pitched at DOC Pitch. A number of films which have participated have acquired support and gone into production. Upon completion the filmmaker chose to screen their films at the New Zealand International Film Festival to secure post-production funding and festival support. It’s disappointing as they may like to screen at the Documentary Edge Festival yet don’t want to pass up the access to more funding. Requests to the NZ Film Commission to appoint Documentary Edge Festival as a qualifying festival have yielded no change yet. People are surprised to hear that we only have one full-time staff member, two part-timers and a small team of volunteers and interns. To run our festival

we rely heavily on goodwill, donated time and resources at levels which are unsustainable long term. We would like to see festival funding from organisations including the NZ Film Commission, Trade & Enterprise and the two City Councils where the festival takes place. The Documentary Edge Forum was held over three days the following week. Featuring local and international guests and presenters, the forum served up a feast of 10 sessions, three master-classes, two workshops, a Date a Doco session and DOC Pitch 2011. A total of 10 projects were selected to be pitched before 16 panellists from YLE Finland, Al Jazeera English, SBS Australia, TVNZ, TV3, Maori Television, NZ On Air, NZ Film Commission, Essential Media Australia, Bang Productions Asia, Screen Australia, South Pacific Pictures and Gibson Group. International collaborations were developed as film makers and industry networked fervently.

Documentary Edge award winners


Best Short Documentary: The Mystery of the Flying Kicks ►Special mention: Prayers for Peace Best Feature Documentary: Enemies of the People ►Special mention: Into Eternity Best Editing: Into Eternity Best Cinematography: Steam of Life Best Director: Rob Lemkin/Thet Sambath Enemies of the People and Shlomi Eldar Precious Life Best On The Edge/Outstanding Achievement: Leave Them Laughing

New Zealand Best Short Documentary: Hiding Behind The Green Screen ►Special mention: Landscapes at the World’s End Best Feature Documentary: I Am The River Best Emerging NZ Filmmaker: Paora Joseph Hiding Behind The Green Screen Best Director: Paul Trotman Donated to Science Best Cinematography: I Am The River Best Editing : I Am The River Outstanding Contribution to NZ Documentary Industry: This Way Of Life and The Topp Twins: Untouchable Girls

Many of the participants commented that this was the most worthwhile industry conference they have attended with a programme of topics rivalling major international industry events like Sunny Side of the Docs, MIP TV, Input, Sheffield Docs, Hot Docs and IDFA. We are certainly committed to developing this to become the major industry event in the South Pacific. While the focus of the forum is documentary, the sessions, workshops and networking apply to drama and TV series as well. Attendance benefits film makers of all genres. With proper funding and support, we would be able to attract an even wider range of international guests and industry. This is an important and cost effective strategy to support the local industry. Individual film makers can pay between $5000 to $10,000 to attend a single international industry event and they’re competing with hundreds of other film makers seeking to make connections with important funders, broadcasters, producers and sale agents. Instead, we can bring them here to New Zealand, allow them to experience local Kiwi hospitality and create an environment where we can showcase our film makers and their talents. We

received a small amount of funding in this area from Creative NZ, NZ Film Commission and Asia NZ Foundation. This year heralds the launch of Docu72, a home-grown 72-hour shortform documentary challenge. Working closely with our partner BRR, we have designed an event to inspire and foster storytelling talent. The contest will run from 1-4 July and includes a category for students. Teams are able to register now online ( We will also launch Documentary Edge Campus, a resource centre for filmmakers and the community to access written and audio-visual documentary resources. It will be open to the public in the second quarter of the year, five days a week. We are thrilled that Richard Driver has joined the Documentary Edge Trust Board and we also welcome Dr Geraldene Peters as a member of our local advisory board. Documentary Edge has matured. It is standing at the edge looking at the future and the potential of our documentary industry in New Zealand. We want and need you to join us in our journey to become a major documentary force in the world.

Partnerships key to socially responsible docos A

s the global conscience rises, documentary film makers are moving away from making films for purely entertainment or educational purposes and into cause-related subjects. Films like Granito by New York’s Skylight Pictures and A Grandmother’s Tribe and Harpooned Soul – The Jade Bell Story by New Zealand’s Borderless are classic examples of how film makers are linking documentary films with websites and social media tools to drive social change. Borderless’ most recent film, Harpooned Soul – The Jade Bell Story, a finalist for the Best Film in the Documentary Edge festival, has partnered with Jade’s KIDS foundation to create an out-reach programme for youth in North America and around the world. This successful model is now leading the way for other film makers in New Zealand and abroad committed to making a real difference through their craft. This year’s Documentary Edge Festival 2011 invited Borderless company director Qiujing Wong to facilitate a panel presentation on the Rise of Socially Responsible documentaries. Panellists included Pamela Yates and Paco de Onis (USA), makers of Granito, Annie Goldson (NZ) director of Punitive Damage, Dean Easterbrook (NZ), director at Borderless films, and new filmmaker Stefano Levi (Germany), who produced a film in partnership with the Fred Hollows Foundation entitled Out of the Darkness. Whether finding the cure for cataracts in the third world or exposing the corrupt nature of a dictator, the panellists confessed a strong connection with their cause. The challenges of balancing this with the creative direction of film making often leads them to partner with an appropriate foundation to realise the goals of the project.

MARCH 2011


w e i v l a g e Al Trade Marks – Part 2 When considering whether to formally register any trade mark there are a number of important issues to be aware of, as David McLaughlin explains.


n the last issue of Onfilm we began looking at trade marks and examined why these are potentially so important for anyone operating in the film and television industry. Just to recap, trade marks are a type of intellectual property, just like copyright, which we have also previously discussed in these columns. A trade mark is essentially something which is used to distinguish the goods or services of one business from another. Trade marks most commonly come in the form of brand names or logos, although in practice a trade mark can in fact exist in the colours, smell, packaging or even the music associated with a good or service. Examples of well known trade marks would include the word ‘Nike’ as used by the well known international sportswear manufacturer as well as the Nike ‘swoosh’ symbol used on all Nike clothing. Although trade marks can exist in both registered and unregistered forms there are some important differences between the protection provided to registered trade marks as opposed to unregistered trade marks. These differences should be considered when deciding whether you want to formally register your trade mark with the Intellectual Property Office of New Zealand (IPONZ It is also very important to remember that trade marks have to be sepa-

rately registered for each country. A trade mark registered in New Zealand will only give you protection in New Zealand. If you have an unregistered trade mark, in the event that you think someone is copying your trade mark you first have to gather enough evidence to prove that you have the superior right to use the trade mark and that the other party’s actions are in some way likely to affect the rights and value (more commonly referred to as the ‘goodwill’) you have in your trade mark. If someone is using a brand or logo very similar to yours but in another part of the country where your goods or business are not currently known then you may not be able to prove you have the superior right to use your particular brand or logo. With a registered trade mark however you are given a lot more protection. In New Zealand the owner of a registered trade mark automatically gets rights in their trade mark throughout New Zealand. A registered trade mark owner doesn’t have to go to great lengths to prove they are the owner of their trade mark as they can just refer to their trade mark registration with IPONZ. Indeed, probably the only disadvantage to a registered trade mark over an unregistered trade mark is the initial registration fee that has to be paid and the 10-yearly renewal fees.

Although there are clear advantages to registering a trade mark there are some situations where an unregistered trade mark may not be capable of being formally registered. Firstly, a registered trade mark cannot be the same or confusingly similar to any existing trade marks. This is important as it goes to the heart of the issue as to whether a trade mark will truly distinguish one person’s goods or services from those of another. A registered trade mark must also be distinctive. Once again this means it has something which really makes it particular to the goods or services it is used to represent. An example of a trade mark which would not be distinctive would be a name like “The Garage” for a mechanic’s business. This is because the word garage is not a word which people would consider as being special to one particular business as it is a term often used to describe businesses of this type. Similarly, particular terms commonly used within an industry cannot be registered by one business in that industry for their sole use. In the case of a mechanic the term ‘full service’ is a term used throughout the automotive industry to refer to a full check over of a car and consequently it would not be appropriate to give the exclusive right to one mechanic to use this as a trade mark in relation to their busi-

New to NZ on Screen A

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• David McLaughlin (david@mclaughlinlaw. is the principal of McLaughlin Law ( • Disclaimer: This article is intended to provide a general outline of the law on the subject matter. Further professional advice should be sought before any action is taken in relation to the matters described in the article.

Got a legal issue you’d like examined in an upcoming column? Then email David McLaughlin (

The Bruno Lawrence collection

new collection of clips and commentary showcasing the extraordinary acting career of the late Bruno Lawrence is now online at NZ on Screen ( In addition to trailers and excerpts from Smash Palace, The Quiet Earth, Utu and Goodbye Pork Pie, the collection includes a full length video of the 1977 Blerta comedy Wild Man, which was released in cinemas alongside John Clarke and Geoff Murphy’s Dagg Day Afternoon. If that’s not enough, check out an episode of Pukemanu, excerpts from 1982’s post-apocalyptic Battletruck or the 1982 full-length television drama One of Those Blighters, a semi-fictionalised tale with Bruno playing writer Ronald Hugh Morrieson. You can also see Bruno the drummer, in either the video clip for the Crocodiles’ “Tears” or the Blerta Revisited documentary. There are also essays on


ness only. Other examples of the types of things which can’t be registered as trade marks include a purely descriptive term such as ‘fast’ for cars, superlatives like ‘fantastic’ or ‘amazing’, or anything which may mislead people into thinking there is some association between the goods or the services that are the subject of the trade mark and something else, when there is in fact no such association. Despite all of these issues that potentially have to be worked through when wanting to formally register a trade mark, the benefits afforded to registered as opposed to unregistered trade marks can make the extra hassle well worthwhile.

Bruno Lawrence from Barney McDonald, Keith Aberdein and Numero Bruno documentary maker Steve La Hood. Also coming up later this month on NZ on Screen is Sam Peacocke’s 20-minute short film Manurewa, based around the 2008 shooting of Manurewa shopkeeper Navtej Singh. “This is a rare opportunity for a hometown viewing public to see a recent A-list festival selected Kiwi short,” says Paul Ward, editor at NZ on Screen. “Usually you’re unable to see the shorts outside of festivals due to risking festival selection and exclusivity deals.” Manurewa screened recently at the Berlin International Film Festival and won a coveted Crystal Bear award for best short in the Generation 14plus youth section.

ViViews ews

Acrossthe Ditch Our expat spy provides his idiosyncratic take on the Aussie film and television industry.

NZ film artists in brief – a series Brent Hayward


ulti-disciplinary film maker Brent Hayward produces challenging work that expresses the anger of the disenfranchised, often through the depiction of intensely violent sexual relationships. His films raise concerns about the dehumanising effects of society and have encompassed themes of witchcraft, revelation, anti-fascism and animal rights. Though independently conceived, his work is reminiscent of Nick Zedd and the Cinema of Transgression in New York. Hayward’s films include Mudsinging (1984), Beat It (1986) Dream Machine (1988), Slaughter House (1989), Slick (1989), Not the Life and Adventures of Sir Balzac Hardbodies (1999), Mondo Biko (1991), Rim (1991), Gatecrash, Hope, Gunplay, Manawanui and The Confessions of Johnny Barcode. Hayward also self published two comic books in 1981 and wrote a piece called “Confessions of a Crooked Taxi Driver” for Pulp Magazine. Some of his poems have been published in Short Fuse under the pseudonym Fats White. Hayward is also a musician. He has released records as a member of the punk band Shoes This High, as a solo artist known as Smelly Feet and as part of the musical duo Kiwi Animal with Julie Cooper. He is currently a member of the musical group Fats White and has produced at least one CD under this name. In recent years Hayward has also devoted his energies to painting. After abandoning filmmaking for music, Hayward again picked up his camera in 2005 to document the scene along Auckland’s Cross Street as a music video for a Fats White song. A related video, Audio Slut (2007), is included on the NZX2K10 compilation DVD of New Zealand experimental films.  – by Martin Rumsby


n late February Australians were again glued to their TV sets, watching the trageby JAMES BONDI dy of the Christchurch earthquake. This summer’s natural disasters are still affecting many of us here. Through these images on screen we can begin to appreciate just what New Zealanders and the people of Christchurch are going through. One day, inevitably, someone will make a film about this. That’s part of our job: trying to make the real world make sense.


report released in February by Federal Arts Minister Simon Crean shows record levels of film and TV funding from the Gillard government. With the new producer offsets and investment from funding agency Screen Australia, overall production increased to A$731 million last financial year to June 2010. Crean was quoted as saying: “Although it’s still early days, the increase in activity, particularly the production of Australian large budget films, such as Baz Luhrmann’s Australia and George Miller’s Happy Feet 2, and the box office performance of films such as Tomorrow When the War Began, shows the government support for the sector is having a significant impact.” However, not all is rosy. Producer Antonia Barnard warned that the producer offset works better for TV than film, and that film producers still have to use mortgages and investment portfolios to fund their productions until they can claim the rebate.


s Barnard also spoke at the Australian Federation Against

Copyright Theft (AFACT) press conference at Sydney’s Fox Studios – the set for her latest movie, A Few Best Men, directed by Stephan Elliot of The Adventures of Priscilla, Queen of the Desert fame. To Barnard and to us reel people, the word “piracy” does not normally conjure up an image of Johnny Depp channelling Keith Richards. We have other concerns. AFACT released the findings of a study that shows the economic impact of movie piracy on the Australian economy. Actor Roy Billing announced the key findings: A$1.37 billion in lost revenue to the Australian economy and 6100 jobs forgone over a 12-month period. Billing was there as the latest holder of the Motion Picture Association Asia-Pacific Copyright Educator (ACE) Award. Temuera Morrison is a previous recipient. That doesn’t make either of them an economist, but AFACT did commission media content and technology research specialists IPSOS and Oxford Economics to drag a few facts into an emotive issue. Antonia Barnard’s point is that it is a risky enough business without having to deal with the notion that all of your hard work and creative input will be worth nothing if your film is stolen. From Neil Gane, executive director of AFACT: “The research tells us that movie theft has a destructive impact not just on the film industry, but the economic damage also reverberates through our entire community, threatening all types of jobs and businesses. The film community is no different than any other sector of the economy that relies on skill, investment and hard work. The losses are significant and the report

highlights the need for urgency in addressing the problem.” The NZ industry is affected in just the same way, as many producers already know. Tony Eaton at the NZ Federation against Copyright Theft will forward a copy of the study to those interested. Go to www.nzfact. or check out the Australian website


ith the announcement that the Baz Luhrmann 3D film The Great Gatsby is to be shot in Sydney, it seems that the drought of overseas production here is about to end. Secured under the NSW government’s enhanced film investment fund, the A$120 million production is expected to employ 400 cast and crew and 150 post production and visual effects personnel. Pre-production starts in March with shooting scheduled for August. US studio giant Warner Bros is backing the Bazmark Films production. Warner Bros will employ our Oz thespians under Australian “bully boy” union MEAA contracts. They won’t require our Federal government to change the employment laws to ensure a “stable working environment”. There will be no marching in the streets, hysteria or petitions. They’ll just get on with it and be perfectly happy, as every other American studio production filming in Australia has been in the past. Hmmm!


ale Frank Whitten. The Outrageous Fortune star was much liked and respected this side of the Tasman too. He had mainly worked in theatre here, playing significant roles for most of the country’s main theatre companies.

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Secrets and Brides

Image © South Pacific Pictures Ltd.

Onfilm talks to director Roseanne Liang about her journey from documentary to feature film.

Director Roseanne Liang.


MARCH 2011


t’s not a story, this is my life.” To be more precise, My Wedding and Other Secrets is a fictional story, directed and co-written by Roseanne Liang. But it’s strongly based on Liang’s 2005 documentary Banana in a Nutshell, a visual diary about her relationship with a non-Chinese Kiwi who would later become her husband. Liang kept their relationship secret from her very traditional Chinese parents for years for fear of disownment. Film festival audiences are already familiar with the documentary. South Pacific Pictures’ John Barnett attended one of the first public screenings and was impressed. “I was struck by the international, universal nature of the story,” he says. “It’s really the story of her life. And it was told with heart, it was told with emotion, it was told with compassion. And I thought it would make a terrific feature film. So straight after the screening, I went up to her and said, ‘Do you want to make a film?’”

“Of course I was completely ecstatic,” says Liang, “and didn’t want to show it too much. I was like, ‘yes, yes please’.” Feature films have always been the dream, she says, from back when she was at film school. “I didn’t think I was going to make a feature out of this particular story, but given this opportunity I was definitely going to take it.” Liang says Banana in a Nutshell was quite a self-involved film. “I made it first of all for myself, and then when I showed it to someone who thought it might be worth sending to the festival, that was the first time that I considered it might be a story that other people would want to watch.” In order to turn her documentary into a dramatic feature, Liang cowrote the screenplay with Angeline Loo. “I definitely needed someone outside of the story to help me write it, but also someone with, I guess, an insider’s knowledge of the culture.

We went through film school together, we did writing classes together. She also knew me during the time the events from the documentary were playing out so she had a unique insight on what happened.” “Probably the most difficult thing was separating the documentary from the film,” says Loo, “even though the documentary forms the backbone of the film, you really have to find out what makes fiction work. I’d be suggesting something and Roseanne would say ‘that didn’t happen’ and we’d have to nut out what would work up on the big screen rather than what actually worked in real life.” It took about four years part-time to get a production script, says Liang, “because it was funded by the NZ Film Commission and SPP and we had divided one person’s writing fee between two of us”. The first draft was a “really frothy, superficial romantic comedy”, she says. “We watched a bunch of roman-

Image © South Pacific Pictures Ltd.

tic comedies and tried to emulate what we saw. SPP hated it. They said, ‘we thought you were going to do an adaptation of the documentary’. They were looking for the honesty and heart that’s in the documentary and they wanted that in the script. So that was our first mistake. We tried to inject more honesty and heart into it, although that’s a really ethereal, weird idea, how to give a film heart.” Michelle Ang from The Tribe, and who also starred as Tracy Hong in Outrageous Fortune, plays the lead, now safely renamed Emily Chu. “I wasn’t entirely sure if she could be the nerd to be quite honest,” says Liang. “She plays such glamorous, confident, totally gorgeous sexy people. I wanted her to play a nerd, which is me, and at first I wasn’t quite sure if she could do it. But from her first audition it was clear that she could.” As for Matt Whelan, who plays the nerdy romantic lead James, he

prepared his entire audition speech – “Hi, I’m Matt Whelan; I’m six foot blah blah tall, I like apples” – in Mandarin. “He learned Mandarin at high school,” says Liang. “And there’s an interesting resemblance to my husband. We were waiting in the front yard one day. My neighbour came out and started talking to him as if he was my husband.” Whelan won Best Supporting Actor at the 2010 NZ Film and TV Awards for his performance as Brad in Go Girls, and had parts in Show of Hands and Eagle vs Shark. Some very experienced Hong Kong actors were also brought in for the project. Kenneth Tsang, whose credits include John Woo’s The Killer, The Replacement Killers, Rush Hour 2, Anna and the King, Die Another Day and Memoirs of a Geisha plays Emily’s father, while Cheng Pei Pei (Jade Fox in Ang Lee’s Crouching Tiger, Hidden Dragon) puts in a dignified performance as Emily’s mother.

I wanted her to play a nerd, which is me, and at first I wasn’t quite sure if she could do it. But from her first audition it was clear that she could. Liang admits that it can be daunting for a first-time director to deal with experienced performers, especially when you consider them to be your elders. “It was daunting and scary but wonderful. They’re so professional, they’re there to do the work, and they don’t have any airs, they had no pretensions. “It was really hard, especially with Kenneth, who plays the father. Because the Chinese way is to always defer to your elders. As a director,

you can’t – well it’s not that you can’t defer to your actors but you can’t let them order you around either. Everybody, including the crew, they need that. There’s nothing worse than a director who doesn’t know what they want, or is constantly asking everyone what they think. “That said, if Kenneth had a suggestion, I definitely listened. And he had some really great suggestions. He went out for dinner with my parents, I don’t know if it was just to meet

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Roseanne Liang directs veteran Hong Kong actor Kenneth Tsang.

Michelle Ang and Matt Whelan as Emily and James in My Wedding and Other Secrets.


MARCH 2011

them or a little bit of character study as well. He took a little thing that my parents do and put it in there. He noticed that my mum fussed with my dad’s collar and he pushed her away, in that slightly irritated and familiar way that married couples do. It came off really well. It was a funny, sweet, intimate moment. When you think of Chinese parents you think of these inscrutable, strict traditionalists, but it’s the little things that make you realise how human, wonderful and loving they are.” DOP Richard Harling also came on board, making this his first dramatic feature. Harling’s association with Liang goes back to Banana in a

Nutshell, for which he shot some additional, stylised sequences. He was also DOP on Liang’s popular 2008 short film Take 3, which he describes as a “good, concise little film” and they worked together on TV sketch show A Thousand Apologies. “I lean on him a lot for the aesthetic of the film,” says Liang. “I’m quite lazy, I should know more about lenses and lighting. But because we have this short hand and this historical relationship I can lean on him a little more to come up with really interesting ideas.” For their first crack at a feature film, they’ve done well. My Wedding and Other Secrets carries dramatic weight when

it needs to without reneging on the romance film promise. It’s a charming, nicely understated comedy, with plenty of marketing potential. “If you talk to the producers, they’ll tell you a different story,” laughs Liang. “They’re like, ‘why did you have to do 12 takes of a tracking shot of a girl opening a box?’ Well, I needed them. Maybe I did overshoot as a first time film maker. You want to put your best foot forward, make it as perfect as you can, given the time restraints. I did go overtime a few times but the crew never denied me.” • My Wedding and Other Secrets opens March 17.


Notes from the Rotterdam Lab Producer Matt Horrocks reports from the 2011 Rotterdam Lab, where independent film is the main event.


ttendance at the Rotterdam Lab provides a welcome opportunity to overcome the tyranny of distance, albeit briefly, that separates New Zealand film makers from the rest of the world. The internet is a great tool, but when it comes to finding out what’s happening in the international markets and getting to know the people who are making it happen, nothing beats face to face encounters. The Lab provides just this opportunity and it does it well. Running alongside the CineMart market and International Film Festival Rotterdam, the Lab is superbly organised. That’s no surprise – they’re Dutch. However, what’s truly awesome is both the quality of the participants and how well things are set up for them to interact with the people brought in to address them. With a welcome emphasis on roundtables as much as seminars there was plenty of opportunity for questions and discussion. Interested in film festivals? How about talking with Frederic Boyer, artistic director for Cannes Directors Fortnight? International film production? How about Michael Andreen, senior vice president of International Production, Walt Disney Studios International? International sales? How about Susan Wendt, head of sales from TrustNordisk? And so on. The talent in the room each day was phenomenal. Equally stimulating were the fellow attendees. With an average age in the mid-30s these were producers, many of whom have already made internationally successful feature films, and all of whom were at the very least on the cusp of making their first feature. As with CineMart, a great strength of the Lab is its emphasis on independents. In this environment it’s not like Cannes or AFM (American Film Market) where a New Zealand producer is liable to find themselves scratching around the outskirts of the main event. Here, as an independent film maker, you are the main event. The financiers and distributors are

there precisely because they want to talk to people like you. In addition to their gift for low key but highly effective organisation, the Dutch employed another, rather blunt weapon to facilitate communications – alcohol. Attendees were encouraged, forcefully, to drink frequently and to drink deeply. Cocktail parties were held each night and the alcohol was free. Serious hookups – business hookups that is – were made by all three Kiwi producers attending – myself, Karl Zohrab and Tui Ruwhiu. I met potential co-production partners from Russia, the Ukraine, France, Germany and the UK. However, I consider the most useful aspect of the Lab to be the up-to-date snapshot of the state of international film production. Key notes included the fact that film makers in Europe are making films all the time. And not just Europe – countries in North America, South America, and Asia have radically different systems of film financing, but they are systems that enable film makers to make films on a regular basis. One part of the answer is that the films being made tend to be in the €1-€2 million range. This matches what I saw at the AFM in 2009 where US$1 million, and often less, is now considered to be a perfectly viable budget for an independent film. A second part of the answer – in Europe at least – is that the backup that film makers receive from state-sponsored funds and financing structures, from the EU-wide to the national to the regional, are simply on a scale that we can never compete with here. I was impressed with the total commitment to independent film – as in art house, talent driven, idiosyncratic projects – that is so central to the European project. Again this applies not just to the European films. As for New Zealand films – apart from the Australians, I met three people who knew Whale Rider and three who’d seen Boy in Berlin. That surely, is something for us to think about.

Matt Horrocks, Tui Ruwhiu and Karl Zohrab outside De Unie, the Rotterdam Lab venue.

Most inspiring person: Katriel Schory, head of the Israel Film Fund – the story goes that three prime ministers have tried to get rid of him, a good indication of the quality of the man, the proof being the quality of the films coming out of Israel in recent years, including Waltz with Bashir, The Band’s Visit and Lebanon. Most revolutionary person: Jamie King of VODO (peer to peer distributors of independent films – http:// and producer/director of Steal This Film – the king of free-toshare media. The most popular delegation? The Kiwis of course.

The biggest downer: In Rotterdam in February it’s the weather. It’s not far below zero each day but with a heavy fog coming off the sea and the canals it feels much colder. For future attendees I would recommend a course of as much vitamin C as your body can safely handle in the weeks leading up to departure, lest the lurgie strikes you like it struck all of us. • Matt Horrocks, Tui Ruwhiu and Karl Zohrab attended the Rotterdam Lab (Jan 30 to Feb 3 2011) with the assistance of the New Zealand Film Commission. For more information about CineMart and the Rotterdam Lab, visit www.filmfestivalrotterdam. com/professionals/cinemine/

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Image cap ture

Alive and kicking Image courtesy Brett Mills, Queenstown Camera Company

While high-end digital cameras strive to achieve cinematic results, shooting on film is still relevant and manufacturers have come up with new ways to make it affordable, writes Peter Parnham.


efore writing another article about the latest whizz-bang digital cameras, writers should probably be forced to include a disclaimer. It should go something like this: The writer acknowledges that while film may not enjoy the total domination of the industry like it used to, it is very much alive. All the same, writing about digital cameras is much more fun as we watch corporate giants fighting it out with the latest products. Perhaps we can thank Jim Jannard for stoking up the intensity of the scrap when about four years ago he stole the colour red and turned it into a camera. The move was distinguished not only by the marketing chutzpah of the man himself, but the considerably lower price of the cameras, which 110308_niche_ad_v8.pdf

claimed to compete directly with 35mm film. This was a big claim to make from that price level because 35mm is widely regarded as the gold standard to which digital cameras aspire, evidenced throughout the high-end digital camera marketing collateral in the form of references to filmic looks, film gamma curves and 35mm sensor sizes. Naturally, the acquisition medium is only one factor among many that help make a film successful. Shooting on the gold standard 35mm film certainly won’t guarantee an Oscar nomination. Still, of the nine live action Oscar nominations for best picture this year (the 10th, Toy Story 3, is animated) six were shot on 35mm film, one on 16mm film, and only


Nobody in this space can ignore RED, and the disruption it has caused to the equilibrium between bang and buck. two were digital, both shot on RED One cameras. In the Best Cinematography Oscar category the score is four out of five to film, perhaps revealing a preference among many cinematographers to shoot on film when you can afford it. But aiming at 35mm film is like

going after a moving target for camera maker RED because new and improved film stocks continue to appear. John Bicknell from Fujifilm’s New Zealand distributor points to new Fuji Vivid stocks that use nano-technology to produce less grain and more information on the negative, making a

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Top: DOP Crighton Bone pictured in the background during a shoot in Paris, using an Arri LT with Kodak 5229 2 perf film. Bottom: Shooting birds in the sky in Berlin.

noticeable improvement with higher speed stocks. He says film is hanging in at the high end of the market, and that is not just for feature films. “Major advertisers are still shooting film,” he says. It is a point underlined by film processors FilmLab and Park Road Post, which both see a positive outlook for their respective processing facilities. Kodak also has a bullish outlook. Motion Picture manager Grant Campbell says Kodak has new Vision 3 stocks with less grain and 14 stops latitude – a measure of the ability to faithfully capture dark and light areas of the picture at the same time, a traditional film strength. “Film is going great,” he says. “3-perf in particular has really helped drive the market and makes film a more viable option. And we have just finished two feature films that shot 2-perf.” He is referring to the tradition that every frame of 35mm film advances the negative by four perfs – the perforation holes on each side of the strip. But somebody figured out a way to fit a wide screen movie frame into 3 perfs’ worth of space. Voila! Twenty-five percent of the film stock cost is saved. If you are prepared to blow the image up a little, you can fit it into 2-perfs’ worth of space and get a 50 percent saving – and a renewed interest in doing the budget with film. Still, the whole shooting-on-film story is not totally clear cut. Deep in two of the best picture Oscar contender’s technical credits, even on the film jobs, is reference to the camera craze that started barely a year after the RED One camera was introduced: the Canon 5D digital single lens reflex, or DSLR camera. (The acronym DSLR simply means a professional sized digital stills camera that in the old days would have shot, well, 35mm film.) This time the disruption started gradually, because like many stills

camera today the Canon 5D, and its smaller brother the 7D, is capable of shooting HDTV images. The video functions were pretty limited at first, and it took time for low budget film makers to recognise that at first glance the images looked

like 35mm film, a quality that has now seen it used on those Oscar films, probably as a crash camera, or for quick cuts in cramped shooting spaces. At a price of about $5000, when they have to, a lot of film makers

are willing to overlook some serious shortcomings in usability and image quality. That’s not to say it is a poor camera – it is recognised as a great stills camera. However, acting as a video camcorder is secondary to its main purpose of still photography.

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MARCH 2011

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Image courtesy Queenstown Camera Company

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Arri Alexa digital camera in action.

But to understand what the fuss is about, you need to grasp a fundamental optical principle. To get an image that looks like 35mm film, as a prerequisite, digital cameras must have a camera sensor that is the same size as 35mm film. A digital camera sensor that is a similar size to 35mm film is way bigger than a traditional broadcast camera with a 2 ⁄3" sensor and bigger again than those nifty small HD video cameras which have sold in their hundreds over the past few years. 16mm film never looks like 35mm for the same reason – it’s smaller than 35mm. This is mainly about the shallow depth of field effect of 35mm film and the ability to separate the subject from the background by putting the background out of focus. This is an


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optical characteristic of 35mm-sized sensors and 35mm film that is severely diminished in smaller film or sensor sizes. This affects the way images look, before you consider the quality of the colour and resolution. This is also better in larger cameras, but is improving in smaller digital cameras including DSLRs. The enthusiasm for the Canon DSLRs, despite their drawbacks, has shown what people will put up with to chase the shallow depth of field effect, especially at this kind of price level. It was inevitable that giant video camera makers Panasonic and Sony would fight back with a new wave of cameras also featuring the 35mm look of larger sensors. The Panasonic AF102 was first to market with a sensor that is not quite

a full 35mm size but near enough to look good, and positioned at a price that has seen some commentators label them DSLR killers. Pete Fullerton, Panasonic’s product sales manager – broadcast, says the new cameras are flying out the door. “The industry was crying out

‘this is what we need’. The DSLRs pointed the way but they were only half a solution,” he says. To introduce the camera Panasonic is supporting a low-budget Escalator scheme feature called I Survived a Zombie Holocaust. Meanwhile Sony has released the

DOP Richard Harling on shooting his first feature, My Wedding and Other Secrets W

e shot on RED cam for the whole thing, it was a decision we made pretty early on that we were going to go digital. It was really just a short discussion with the producers before deciding on RED to see if they could actually budget for that. I think SPP had already planned this to be a digital film but film wasn’t really an option. We considered it briefly but really, it was going to be RED from the get-go. I shot RED pretty much when it arrived in the country – obviously not when Peter Jackson got his prototype bodies, but as soon as it came into Rocket Rentals I was onto it. I’ve pretty much used them fulltime since. It’s just a big computer; they’re just trying to get as much out of the sensor without increasing the noise. All the builds really do is they try and improve on that as much as possible. It’s really just debugging the camera. For a while there were funny little problems, they would randomly shut down or randomly erase data and stuff like that. As they went through the builds they got it working properly. They pretty much put it out there for cameramen to really prove it, to make sure it was working. For them to say this is what works and this is what doesn’t, an ongoing process, changing them to work for the DP. We shot on two different sensors. The original M sensor – the principal photography was on that, it had its certain tolerances. We did a couple of pickups a few weeks on and swapped out to the new MX sensor because a lot of it was night shoots. It’s supposed to be good in low light. And it was. There’s a big difference between the two sensors.

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PMW-F3 camera with a 35mm-sized sensor (see “Chasing a commercial rainbow”, Onfilm February 2011). David Colthorpe, Sony New Zealand marketing manager for broadcast products, says the new camera is fulfilling pent-up demand to the point where Sony had multiple back orders before the first production models arrived in the country. The camera has a feature set that puts it above the DSLR price point, but below a RED. He says Sony will release a new camera to go head to head with DSLRs in the next few months. These new cameras cross the first hurdle to a 35mm look – the sensor size. However they sport AVC recording codecs, or formats, that help keep the price down. They are better quality than the Canon DSLR codec but they don’t approach the colour rendition or resolution of 35mm film or highend digital cinematography cameras. Sony already has its own slice of


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MARCH 2011

the high-end digital 35mm sensor camera market, led by a camera that has a shared heritage with the Panavision Genesis. Arri top-end offerings have been around for a while as well. But nobody in this space can ignore RED, and the disruption it has caused to the equilibrium between bang and buck. Panavision is still developing a new camera, but meanwhile Arri has responded and is now experiencing its own pent-up demand with a full backorder book for its new high-end digital camera, the Alexa. Queenstown Camera Company and Auckland rental house Metrofilm have already seen their cameras arrive and go straight out on jobs. But with the proliferation of new cameras with 35mm sensors, who do you listen to? How do you choose? There is a rule of thumb that won’t help you make the right choice, but


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Frame grabs from Compulsion, a short film shot on a Sony PMWF3 by director Jason Wingrove.

Aiming at 35mm film is like going after a moving target for camera maker RED because new and improved film stocks continue to appear.

TVC shot in NZ for Mitsubishi out of Moscow using an Arriflex 435.

almost certainly can help you avoid a poor choice, at least on a technical level. It’s an old rule but it still holds true – you get what you pay for. And it works for cameras and lenses, confirms Andy Roelants, founder of Metrofilm. But it might also help keep marketing puffery in perspective. Take a look at Epic, a soon to be released camera from RED, the company headed by

an entrepreneur still not shy about hyper claims. “The name is not an overstatement,” says the marketing blurb. “Providing a native dynamic range of over 13 stops and resolution that exceeds 35mm motion picture film, this is the camera of the epoch.” There you go. They are still trying to beat that old 35mm gold standard.

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MARCH 2011


n o i t c u d Post-pro

Post-production roundup Madeleine Sami as Linda the art patron (below) and Pasha the cheerleader (above) in Super City (Copyright ‘Superfumes Ltd’ 2011. Photographer Louise Hyatt).


elcome to Onfilm’s seasonal snapshot of the New Zealand post-production industry. We asked five leading post houses – Digital Post (Digipost), Images & Sound, Park Road Post, Oktobor and Toybox – to tell us about the productions their highly skilled teams have been working on. What’s interesting is the convergence over the past few years of animation and post production houses. One example is Toybox, which started off firmly in animation and VFX territory years ago and is now colour grading shows like the Taika Waititi-directed Super City. Recent and ongoing work Auckland’s Images & Sound has been working on Power Rangers, Spartacus (as VFX vendor) feature film Rest for the Wicked, the audio post on television feature Bliss, and is about to start on South Pacific Pictures’ new drama series Nothing Trivial. Most recent projects include full post production on feature film My Wedding and Other Secrets, The Almighty Johnsons and series three of Go Girls. Over at Digipost they’re working on several New Zealand TVCs and preparing for two larger budget international TVCs. Digipost cites its largest and most exciting recent jobs as post production of the feature film Love Birds starring Rhys Darby, and the 6 x1 hour prequel Spartacus: Gods Of The Arena for Pacific Renaissance and Starz Entertainment. 24

MARCH 2011

Park Road Post in Wellington confirms that it has a huge amount of work either ongoing or confirmed across TV series, commercial, documentary feature and feature film work. It is working on a number of 3D stereoscopic projects and says it has seen a huge increase in this work over the past months. The Andrew Adamson-directed feature inspired by Cirque de Soleil is currently in the facility with work scheduled in both sound and 3D stereoscopic picture departments. Its lab has been busy with the release prints for Love Birds, cinema commercial work, most of which comes from Australia, and rushes work for Samoan feature film The Orator and Robert Sarkies’ new feature Two Little Boys, starring Bret McKenzie from Flight of the Conchords and Melbournian comedian Hamish Blake. Park Road Post has also been working with Natural History New Zealand on a new 3D stereoscopic series. Its other work includes data extraction and digital intermediate and deliverables for upcoming horror The Devil’s Rock. Back up to Auckland, where visual effects, animation and digital creative convergence studio Oktobor’s recent work includes a Melanie Bridge-directed TVC for the USA and a Vodafone Qatar TVC with motion graphics, Flame and 3D elements all taken care of in-house. It also created two TVCs for the Asian Football Con-

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My Wedding and Other Secrets © South Pacific Pictures.

federation from the concept stage through to writing scripts and full 3D animation. As well as working on Super City, Toybox colour graded Eyeworks’ What Really Happened – Waitangi, which screened recently on TV One’s Sunday Theatre. Toybox was also putting the finishing touches on the feature film The Holy Roller, which unfortunately is now on hold indefinitely due to its audio mix being another casualty of the Christchurch earthquake.

Craig Jackson, executive producer at Oktobor.


MARCH 2011

New general manager at Digipost Mike Horgan.

Impact of the GFC Onfilm also asked post houses about the long-term effects of the Global Financial Crisis: So how was the last six months in terms of new work coming through? This year has started very strongly, according to Park Road Post, which sees it as an indication that the industry is ready to move on from the talk of crisis. Images and Sound says it hasn’t been significantly affected by the GFC, and put this down to com-

mercial advertising work not being the major driver in its business. Many of its long-form projects were green lit prior to the credit crunch, encouraging it to move forward with some confidence. Park Road says there’s a quiet patch at present, but the rest of the year is looking very busy. However, Digipost reports that the GFC is still very much affecting its business. Over the past year it has seen a considerable drop off in feature and long-form TV projects incoming from the USA, particularly during the last six months of 2010. Its key market for features and long-form TV is still Los Angeles, with international TVC clients in the Asian region and domestic TVC business at home in NZ. Oktobor reports that businesses are changing the way they segment their spend, saying that in addition to TVC post work its digital department is doing more work on website and app development. More and more, it says, content from one discipline is being shared across multiple platforms. While New Zealand is Oktobor’s base market it also does a lot of work in Asia and North America. There is good work out there, it adds, but as in most areas of the world, budgets and production schedules are tight. It has been fortunate to work on some great projects in the past six months of 2010 but remains cautiously optimistic about 2011. 2010 was “not too bad a year” at Toybox, with steady flow of animation and design work. Colour Grading Flame and Inferno jobs were a little slow coming in for the first quarter but then picked up and stayed strong throughout the year. Its long-form TV work included Great Southern Television’s The Cult and Rivers for South Pacific Pictures. In the area of animation and design, Toybox has completed TVCs for Australia, Singapore, Vietnam and the Middle East, and has colour graded projects from Australia, Asia, Europe and the USA, making 2010 a good year for it in terms of international growth. If the GFC had any effect, it was that post houses are being asked to do a lot more work for the same or less money – not necessarily a new phenomenon. Long lead times in production mean that the post industry may have encountered the slowdown a little

Post-prod uction

Asian Football Confederation TVC directed by Oktobor’s Gary Sullivan for Al Jazeera Children’s Channel.

Key personnel changes Staff changes in the post-production sector include the appointment late last year of Mike Horgan as new gm at Digipost. Craig Jackson, aka “Jacks” has been appointed executive producer at Oktobor. At Park Road Post, head of production and marketing Vicki Jackways is taking up the new head of marketing role and will be based predominantly in Los Angeles. Dean Watkins, former head of production at Prime Focus in London has joined Park Road as head of production. Flash new kit Changes to equipment and services at Park Road Post include a new stereoscopic and grading toolset called Mistika from SGO, a competitor to Autodesk’s Smoke and Flame. Park Road is working closely with SGO’s developers to refine the offer. It says its new digital lab service is unique

to New Zealand and has proven to be popular with film makers who are looking for a secure pipeline to extract, QC and store their master digital negative. Park Road is also building a second digital intermediate grading theatre that will almost match the size and scope of its existing DI theatre. Also underway is a purpose built stereoscopic suite and suites to accommodate the new digital rushes and lab service. Last year Images & Sound geared up its stereoscopic capabilities, particularly in its Baselight grading theatre and projector. Its most recent acquisition is in the digital cinema area. Images & Sound is now able to encode and distribute digital cinema packages, or DCPs. This has already been used to release digital prints for My Wedding and Other Secrets as well as many cinema commercials. Digipost now supports the workflow for Pro Res files from the Arri Alexa camera. Over the past 12 months it has progressively installed a complete offline through online and grading pipeline for stereoscopic 3D projects. It also has a well-equipped remote sound stage for the fun stuff – foley recording. Oktobor now has Da Vinci Resolve to handle digital grades and digital work flow and through 2010 Toybox constructed a dedicated long-form DI grading and online suite. With the introduction of Da Vinci Resolve for the high end TVC market it has freed up its Quantel Pablo Suite to concentrate on long-form projects.

As for the rest of 2011, Park Road says the year is looking very strong, with three international and four NZ feature films confirmed, along with more TV documentary work, short films and lab work. Images & Sound has at least two feature films on the horizon, plus three TV series, two telefeatures and a variety of lifestyle and reality programmes. For Digipost, the single biggest project for 2011 is season two of

Spartacus. It is also doing post for local feature film The Most Fun You Can Have Dying and is busy with a mixture of both local and international TVCs. Oktobor is planning a major push to reintroduce itself to the Auckland market and will be announcing some major initiatives that will foster and support new, young talent. And Toybox anticipates growth in the local long-form market and the international TVC market.



later than most, but it wasn’t sheltered from it, according to Park Road Post, which says there is no question that the past 18 months have been quieter than usual. The smart operators, it says, have used the time to look at their business and move into other areas of opportunity. Digipost says the recession has affected all the sectors that it operates in – features, international TV projects and TVCs from NZ and abroad. Oktobor says there was no real shelter as such and that the GFC just took a little longer to hit than in other industries.

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MARCH 2011


n Productio Listings How to get your production listed Because all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.




90min feature prod co BTJ Movie prods Tom Parkinson, Robert Boyd-Bell dir Ian Mune writers Ian Mune, Phil Gifford prod mgr Liz DiFiore prod asst Rachel Choy 1AD Neil James prtcpnt coord Sarah Banasiak kaitiaki Tearepa Kahi rsrchr Dianne Lindesay pub Sue May snd rec Dick Reade prod des Rob Gillies props Paul Dulieu DP Waka Attewell cam asst Mike Knudson vid splt/data wrangler Kim Thomas gaffer/grip Mathew Harte greens Robbie Penny cost des Gavin McLean casting Christina Asher loc/unit Ronnie Hape, Nicki Tremaine acct Len Tenorio post prod Images & Sound ed Chris Plummer post prod sups Grant Baker, Toby Parkinson


Feature prod co D S Productions prod/dir/writer Dale Stewart exec prods Dale Stewart, Graeme Gilby prod Jacqui Gilbert DP Mathew Harte 1st cam asst Roko Babich 2nd cam asst Dale Stewart 1st ad Candice Crow boom op Chanel Simpson prod mgr Jacqui Gilbert prod assts Jono Bevin, John Gilbert, Joseph Gilbert gaffer Mathew Harte gaffer asst Roko Babich adv John Gilbert m/up Sarah Taylor, Zoe Boyle, Anna Brock, Simone Faets ed Dale Stewart ed assts Ben Fowler, Chris Tarpey colourist Allan George cmpsr/mus Gabrielle Gilbert snd/foley/snd post prods Nadav Tabak, Alex Ward loc Spookers cast Te Kaea Beri, Richard Lambeth, Nikki Christensen, Russell Wills, Debbie Foster, Omar AlSobky, Tim Hammersley, Tonci Pivac, Campbell Cooley, Mike O’Sullivan, Jacqui Gilbert, Tim Schijf, Jennifer Lopsi, Dale Stewart, Andires Mentz, Chad Mills, Gareth Paget, Andy Sophocleous, Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry


16mm short prod co The Film School dir Lillian Beets writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Paul Jackson prod mgr Kathleen Collins prod asst Annalisa Ridley prod runner Nathaniel Hinde loc mgr Mark Jackson cam op Josh O’Brien f/puller Bonnie Low c/loader Pavel Kvatch vid asst Ben White grip Neil Hunter grip asst Gene Warriner gaffer Helmut Marko gaffer asst Joshua Kamau snd rec Dylan Jauslin boom op Sandy Burton-Davis 1AD Steven Charles 2AD Ahmed Osman cont Betty Savage art dir Sinclair Dyer prps/art asst Lisa Fraser-Clark w/robe Tom Frame unit Sagar Janvekar cast Nick Dunbar, Don Langridge, Todd Rippon, Sarah Lineham, Elliot Travers


Feature prod co Eternity Productions prod/dir/writer Alex Galvin exec prod Michael Stephens DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Thomas, Graham Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden cast Elliot Travers, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls

16mm short prod co The Film School dir Sandy BurtonDavis writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Gene Warriner prod mgr Steven Charles prod asst Betty Savage prod runner Sagar Janvekar loc mgr Bonnie low cam op Dylan Jauslin f/puller Helmut Marko c/loader Ahmed Osman vid asst Nathaniel Hinde grip Sinclair Dyer grip asst Tom Frame gaffer Mark Jackson gaffer asst Kathleen Collins snd rec Pavel Kvatch boom op Neil Hunter 1AD Lisa Fraser-Clark 2AD Joseph Ryan cont Lillian Beets art dir Ben White prps/art asst Joshua Kamau w/robe Annalisa Ridley unit Paul Jackson cast Zoe Lovell-Smith, Nick Blake, Bailey McCormack, Vivien Bell, Aidan Grealist


Feature prod co Mad Fox Films writers/prods/dirs Andrew Todd, Johnny Hall line prod Alastair Tye Samson DP Andrew Todd art dir Jasmine Rogers-Scott m/up Kirsten Taiapa snd recs Alastair Tye Samson, Joh Bloomberg, Kirk Pflaum stills Adam Baines PA Ellie Callahan 2 unit dir Doug Dillaman eds Andrew Todd, Johnny Hall cmpsr Luke Di Somma cast Campbell Cooley, Johnny Hall, Steve Austin, Kathleen Burns, Roberto Nascimento, Isabella Burt, George Hardy, Juliette Danielle, Alan Bagh, David Farrier, Stig Eldred, Timothy Bartlett, Helen Moran, Jeff Clark, Anoushka Klaus, Leighton Cardno


Feature prod co Life Films prods Angus Benfield, Mark Freiburger, Ken Robinson, Patrick Gillies asso prods Anne Williams, Nick Prince line prod Nadia Maxwell writer Angus Benfield dir Patrick Gillies prod mgr Nadia Maxwell 1AD Anna Canton 2AD Josh Bridgman prod asst Penny Clark-Hall prod runner Callum Butcher cont Nan Sirisamphan, Aria Broughton DP John Christoffels 1st cam asst Kirk Pflaum 2nd cam assts David Jensen, Jeremy Garland c/loaders David Jensen, Jeremy Garland, Makoto Takaoka snd rec Tim Brott, Hadlee Wright boom ops Hadlee Wright, Makoto Takaoka gaffer Andy Rennie b/boy Chris Fawcett key grip James Creevey grip asst Dan Watson loc mgr Ken Robinson unit mgr Callum Butcher prod design/art dir Bryce Holtshousen art asst Don Bate art runner Kate Geary w/robe Kaye McCurdy w/robe asst Eliza Glyn m/up & hair Liz O’Sullivan, Julie Anne Whitson m/up & hair assts Kendra Cox, Becky Smith, Erin Broadfoot extras wranglers Belinda Davie, Brendon Kircher, Aria Broughton eds Patrick Gillies, Raymond Kennard data wrangler Raymond Kennard app Campbell Platt app asst Steve Smith p/grphrs Steve Brodie, Don Bate, Wayne Williams, Andrew Hewson PR Tactic Communications cast Angus Benfield, Victoria Abbott, Jeremy Brennan, Mike Maxwell, Ron Rodger, Martin Howells, Al Kincaid, Nick White, Patrick Duffy


Feature prod cos Torchlight Films, Community Media Trust dirs/writers Andrea Bosshard, Shane Loader prods Andrea Booshard, Shane Loader, Jeremy Macey asso prod Rangimoana Taylor DP Deane Cronin prod mgr Rebecca (Bex) Moore prod/cost des Trixie Woodill s/prps Bex Moore 1AD Jeremy Macey 3ADs Rosalind Croad, Erin Woolhouse cam assts Rachel Manley, Isaac Heron, Michael Johns lx asst Kyo Won (Alex) Lee snd Nic McGowan, Joel Ansconbe-Smith boom ops Joel Ansconbe-Smith, Bernard Blackburn w/robe asst Roch Travers cont Mark Dunick caterer Steph Prowse ed Annie Collins asst ed Leonardo Guerchmann prod assts Mary Hebberd, Jack Nicol, Keryn Johns, Kerem Blumberg, Nicole Case gfx Geoff Aickin, Sebastian Sloan snd post prod Nic McGowan, Joel Anscombe-Smith pic post prod Allan Honey cmpsrs David Donaldson, Steve Roche, Janet Roddick (Plan 9), Mark Austin cast Carmel McGlone, Rangimoana Taylor, Geraldine Brophy, KC Kelly, Matthew Chamberlain, Elizabeth McMenamin, Alan Palmer, Eli Kent, Kate Harcourt


Self-funded action comedy short dir Andy Campion DP Marty Lang vfx ed Caleb Carr 1AD Johnny Eagle gaffer David Brownjohn cam asst Philip Kehm steadycam op Glen Maw snd Miguel Ruiz boom op Alex Lee scrpt sup

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march 2011

Please see or contact for everything you need to know about getting your production listing/s in Onfilm, including deadlines, submitting new entries and updates, and abbreviations.

Sophie Cherry m/up Renei Bailey grip Jared O Neale unit Charlette Potts cast Hayden Weal, Rowan Bettjeman, Aroha White, David Brownjohn, Faalii Alaimoana, James Simpson, Daley Tapa, Florence McFarlane, James Blake


Feature (RED) prod co  Hybrid Motion Pictures  prods  Alastair Tye Samson, Anoushka Klaus, Doug Dillaman  writer/dir  Doug Dillaman  1AD  Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Turley f/pullers Garth Merrylees, David Steel, Meg Perrott, Ayrton Winitana key grip Heath King 2nd asst cam Fiona Janet Young lx assts John Young, Ewan Hall snd rec Alex Bird art dir Jasmine Rogers-Scott cost Jasmin Gibson, Barbara Pinn  m/up art  Anna Hewlett  stby  w/robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit  colourist  Alana Cotton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood, Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies


35mm NZFC funded short prod co Eyeworks Film prods Desray Armstrong, Chelsea Winstanley consult prod Robin Scholes exec prod Big Shorts dir/writer Sam Holst 1AD Seamus Cooney 3ADs Bonnie Frires, Floyd Moratti cont Kath Thomas strybd art Glen Christie DP Andy Commis f/puller Jason Cooper White c/loaders Kent Belcher, Gray Turner s/cam Grant Adams stills Louise Hyatt behind the scenes Chris Walker grip Anton Leach gaffer Sean Loftin lx/grip asst Corey Moana snd rec Ben Vanderpoel boom op Adnan Taumoepeau prod des Sinclair Lonsdale stby props Billy Mizer art asst Jesse Magrath cost des Emma Skudder m/up Debbie Tremayne unit Rua Howe safety Sam Cometti, SceneSafe prod asst Dena Kennedy prod runner TemaKwan Fenton-Coyne rushes runner Suze Srpek cam equip Panavision NZ stock Fujifilm NZ ed Peter Sciberras snd des Max Scott, Nick Buckton, Matt Scott casting Reel World Casting cast Jesse James, Greg Smith, William Hemming, Mick Innes, Stephen Ure, Jesse Magrath


Feature NZFC 16mm prod co RFTW, Antipodean Film dist Metropolis Film prod Maile Daugherty dir Simon Pattison writer Bob Moore script con Nick Ward line prod Judith Trye prod acct Naomi Bowden ed Paul Maxwell asst ed Kerri Roggio vfx post sup Zane Holmes vfx Eklektik post prod Images & Sound snd des Ray Beentjes snd mix Park Road Post film out Weta Digital  pub Sue May epk Alistor Crombie cast Tony Barry, John Bach, Teresa Woodham, Irene Wood, Ilona Rodgers, Elizabeth McRae, Ken Blackburn, Bruce Allpress, Elisabeth Easther, Stephanie Tauevihi, Ian Mune, Helen Moulder, Sara Wiseman


12min prod co 3DLive prod Ronel Schodt post dir Alun Bollinger holographic DP Karl Schodt ed/compositor Wayne Johnstone scrpt/post sup Bridget Ellis Pegler m/up Danielle Orme gaffer Matt Johns


12min short 35mm prod co StanStrong prod Merata Mita dir/writer Kararaina Rangihau prod mgr Chelsea Winstanley prod asst Shannon Biddle prod runners Dena Kennedy, Dave Anderson 1AD Pita Turei 2AD Kath Akuhata Brown prod des Okiwi Logan Shipgood construct Bonnie Taiatini, Haruru Ripia props Jimmy Kouratorus DP Grant McKinnon asst DP Mike Johnathan gaffer Mike Toki b/boy Logan Phillips grip Jim Rowe grip asst Andy Troughton loc mgr Steve Frires m/up artist Jasmine Amohau snd rec Aaron Davis add snd Ethan Davis cont Kath Thomas f/puller Kent Belcher c/ loader Meg Perrot cam asst Amber Smith stills Cinzia Jonathan cam equip METRO film lx equip Volcano Lighting unit/safety Tweedie Waititi catering Te Kohanga Reo o Waikaremoana ed Dena Curtis snd des/foley

artist Dick Reade music Justin Kereama karearea footage Hikoi NZ film stock Fuji film processing Film Lab Ltd telecine transfer Digi Post snd des studio Reade Audio curious film prod Matt Noonan flame op Nigel Mortimer title des Richard Shaw subtitles Luke Haigh cast Menu Ripia, Te Ratauhina Tumarae, Te Urewera Tekurapa, Kiripounamu Tekurapa, Kirikatokia Rangihau, Riria Rangihau, Whakarito Rangihau, Parehuia Eparaima, Pato Ripia, Raymond Tipu, Tarewa Rota, Charlie Lambert, Ivan Turipa


Feature WWII Horror prod co The Devil’s Rock dir Paul Campion prod Leanne Saunders writers Paul Finch, Paul Campion, Brett Ihaka asso prod Richard Matthews script consult Kathryn Burnett Mäori consult Tainui Stephens kaumatua Rangimoana Taylor line prod Melissa Dodds prod coord Tom Kelly prod asst Bonny Crayford prod acct Lyndsay Wilcox legal/bus affairs Matt Emery, Emery Legal casting dir Mike Dwyer, Barefoot Casting DP Rob Marsh cam op Ulric Raymond 1AC camA Phil Smith 2AC camA Joe Michael 1AC camB Angus Ward, Matt Tuffin 2AC camB Martin Lang, Kim Thomas cam trainee Jared O’Neale 1AD sched Dave Norris 1AD Richard Matthews 2AD Kendall Finlayson 3AD Jonny Eagle casual AD Jules Lovelock prod des Mary Pike art dir Zoe Wilson constr mgr Colin Davidson constr Paul McInnes constr assts Adam Crighton, Joseph Auslander stdby prps Richard Thurston ld prps maker Ben Price prps maker Alex Falkner lead set dec Laki Laban set dec Nathan Gray set paintrs Dordi Moen, Shari Finn paint hand Fraser Anderson gfx des Pete Wellington illustr Les Edwards title des Krystian Morgan art dept asst Lyndsay Crummet kayak constr Peter Notman arm Hamish Bruce cost sup Tristan McCallum cost stby Paul Hambleton, Coco Miles UK cost consult Josie Thomas m/up sup Davina Lamont m/up art Deb Watson Dara Wakely m/up asst Hayley Ness on set m/up/ fx/ prosth sup Sean Foot on set prosth techs Dordi Moen, Jade Jollie weta wkshp prosth sup Richard Taylor weta wkshp spec prosth m/up art Sean Foot weta wkshp prosth tech Jason Docherty, Frances Hawker weta wkshp sculpt Gary Hunt weta wkshp prosth painter Sourisak Chanpaseuth, Dordi Moen weta wkshp coord Danielle Prestidge weta wkshp sup Rob Gillies script sup Pete Wellington snd rec Nic McGowan boom op Joel Anscombe Smith snd trainee Nick Tapp gaffer Adrian ‘Wookie’ Hebron key grip Byron Sparrow lx asst Chris Murphy casual lx asst Andy Ayrton, Simon Oliver, Mark Newnham, Ben Thurston, Hayden Rowe gripB Maurice “Moose” Kapua add grip Graeme Tuckett gene op Hansel Verkerk stunt coord Augie Davis safety coord Andy Buckley safety off Richard Thurston add safety Conrad Hawkins vfx sup Frank Reuter, Jake Lee matte paint Max Dennison loc mgr Peter Tonks unit mgr Gabe Page unit asst Hamish McDonald-Bates AD/ unit assts Kura Scott, Claire Watson, Brendan Schenk catering Billionaires Catering security sup Kevin Magill add security Mark Matchett, Kevin Armstrong, Avele “Val” Moreli stills Gareth Moon add stills Matt Mueller, Roger Wong epk Mike Roseingrave epk add Jed Soane, Mark Tantrum ed Jeff Hurrell ed trainee Wes Thorpe snd des James West, Lloyd Young snd des trainee Jordan Muzio comp Andrea Posse ed facility Martin Square lab facility Laurence Alexander, Rubber Monkey cam Rubber Monkey Rocket Rentals lx Gunmetal insurnc Crombie Lockwood int sales NZFilm distrib Vendetta thx to Portsmouth, L’Affare, HELL & Film Wellington, Nicci Lock cast Craig Hall, Matt Sunderland, Gina Varela, Karl Drinkwater, Luke Hawker, Jess Smith, Nick Dunbar, Hayden Green, Jonathan King


Feature prod co Certain Scenes Productions writer/dir Scott Boswell prod Rhys Cain co prod Derryn Beath 1AD Daniel Beeching 3AD Jae Walford art dir Domini Calder DP Phillip Jackson snd David Byrne cost Caroline Mitchell prod mgr Caroline Mitchell cont Glenn Horan prod assts Anita James, Jayson Simpson, Rhonda Corbett, Susanne Kemp, Jo Crowle stills Derryn Beath, Gina Jessop m/ up Idette Braan, Glenys John, Kate Caughlin cam asst Jacob Slovak lx assts Nic Candy, Phil Hines key grip Daniel Camp casting Tim Schijf, Fraser Ross unit Louise Boswell stunts Ike Hamon cast Ryan O’Kane, Dane Dawson, Kyle Pryor, Paul Glover, Zoe Cramond, Amy Louise

Productio n Listings Waller, Snowy Housley, David Viskovich, Crystal Vickers, Anna Smith, Mike Lowe, Geoff Ong, Anson Yang, Richard Lambeth, Darryl Archer, Matt MacDougall


20min short prod co Treetop Productions prod/dir/ writer Raquel Sims prods Richard Whiteside, Julieanne Stephens, Amanda Berryman DP Matt Sharp 1ADs Jules Lovelock, Luke Ruscoe, Bruno DuBois 2AD Felicity Hamill prod mgr Amanda Berryman prod asst Laurence Fauatea runners Marty Chung, Tayla Davies, Keiran Vane ed Nikki Parlane snd ed/des Joel Anscombe-Smith snd asst Tim Blake colourist/vfx Matthew Harris cam op Ben Forman f/pullers Bryson Rooney, Graham Smout cam assts Graham Smout, Alex Lee gaffer Lee Scott b/boy Bret Saunders lx assts Daniela Conforte, Royce Goddard grip William Mathews asst grip Andrés Bocage snd Dan Urlich boom op Tim Blake music snd Lauren King data mgr Symon Choveaux unit mgr Eugene Becconsall unit asst Sharon Lucinsky, Sandra Munro set dress/props Mike Mercer, Melanie Hull props Julieanne Stephens cont Heidi Jeynes, Marian Angeles w/robe Bonne Kemp m/up Jasmine Amohau, Renei Bailey, Lucy Gargiulo, Kerry Taylor hair Dayna Morris, Sandra Stevenson @Zambezi music Mama Tilly, Rose Blake, Catherine Norton pub Richard Whiteside prod stills Greig Sims pub stills Sarah Julianne medical advs Sharon Graham, Dr Vincent Wong casting Beth Brash cast Jessica Manins, Vincent Wong, Rose Blake, Richard Whiteside, Elliot Travers, James Trevena-Brown, Barbara Woods, Elaine Butler


14min HD short prod co Pitts Productions dir/scrnply/ prod Virginia Pitts chrgrphr Karen Barbour cmpsr Jeremy Mayall DP Leon Narbey prod mgr Patti Mitchley prod des Brenda Kidd ed TemaKwan Fenton-Coyne cons Shona McCullagh snd mix Chris Burt tech mgr Grant Sherson snd rec Brad George lx Tony Lumsden lx asst James Dudley cam asst Arianne Zilberberg 2nd cam Shoshana Sachi 1AD Bonnie Frires prod asst Kirsty Russel unit TemaKawn Fenton-Coyne cont Maryanne Tuao hair m/u Kathy Hart snd asst Jihad Qhanbari cat Orca Bar and Restaurant loc Rohi Manu ins Crombie Lockwood insrmntl perf Jeremy Mayall guitar Joe McNamara asst ed Shoshana Sachi vid post-prod Images and Sound, VET cast Reiki Ruawai, Whetu Silver, Karere Henare, Alex Hitchmough, Claire Gray


prod co Mahayana Films distributor Incubate prods Rajendran Naidu, Anand Naidu dir Cristobal Araus Lobos s/play dev Anand Naidu s/play writer/sup Padma Akula DP Karl Schodt snd Ande Schurr mus Allen Jensson grip Anton Leach tech dir/post prod Media Networks Corporation exec prod Shanta Naidu line prod Gaurav Gupta asso prod Paul Marshall marketing mgr Graham Rogers 1AD Jordan Mauger 2AD Rowan Sharp loc mgr Eddy Fifield unit mgr Steven Baker prod assts Rowan Sharp, Amit Sharma, Sophiya Elisabeth, Rosemary Abel grip asst Corei gaffer Matt Johns b/boy Ken Stratton b/girl Aleisha Frazer f/puller Matthew Gerrand cam asst Priscilla Northe snd mixers Ben Vanderpoel, Nikora Edwards boom op Chanel Simpson m/up Powder Puff Inc w/robe Laura Schneemann, Sarah Koopu w/robe asst Danielle Orme prod des Robin Charles art dir Haley Williams art assts Angela Gray, Courtney Sanft art dept runner Josh Finnigan runners Ashley Pitman, Christopher Pretty, Lydia Stott cast Aunanda Naaido, Alison Titulaer, Ajay Vasisht, Leela Patel, Ben Mitchell, Rajeev Varma, Tarun Mohanbhai, Vidya Venugopalan, Bhavnesh Soni, Jenny Li, Robyn Patterson, Dwayne Cameron, D. Mark Harrison, Sophia Elisabeth, William Wallace, Amit Odhedar, Jazeel Mistry India crew: line prod Gaurav Gupta prod mgr Sanjay Banerjee prod assts Raju, Vinjay, Ajay asst dir Nitin Bharti cnmtgrphr Bithin Da snd rec Nitin Adarkar casting dir Prabha Tonk direction runner Prateek driver Tilak India cast Prince Kohli, Nitin Bharti, Deepankur Batra, Natasha media partners Radio Tarana, Indian Weeke nder with thanks to our sponsors


12min short prod co Nightshade Films writer/dir Aden Shillito prods Clinton Spencer, Aden Shillito 1AD Clinton Spencer 2AD Bruno Peeters 3AD Sam Harris prod mgr Neil MacNicol prod asst Douglas Royds cont Adrienna Ember unit mgr Charmaine Hart DPs Graham Richie, Karoly Spah cam asst/grip Paul Abbott snd rec

Gabriel Müller post snd prod/mus Rob Mayes 3D anim Dammoju Mahesh Chary vfx/comps Morten Leirkjaer, Aden Shillito post prods Aden Shillito, Yaser Naser, Daniel Struthers cast Nick Jeffrey, Matt Hudson, Brian Sullivan, Torum Heng, Kirsty Tait


20min short prod co Fine Eye Films prod/dir/writer Oliver Barnett DP/cam op Mathew John Pearson snd rec/boom op Patricia Hetherington ed/snd ed/sfx Oliver Barnett gaffers Anthony Radich, Mathew John Pearson c/loaders Anthony Radich, Angus Dunn, Aron Jackson m/up Church Haley stunts Thomas Rimmer driver Patricia Hetherington stills Anthony Radich, Sarah Julianne catering Dennise Murch casting Oliver Barnett, Jack Barnett, Duncan Murch cast Thomas Rimmer, Susannah Donovan, Ben Frensham, Anita Rossbach, Vincent Wong, Amelia Murch


10min prod co 316 Productions prods David McCartney, Allan George exec prod/dir Ben O’Hanlon writer Jarret Filmer DP Allan George prod mgr Emily O’Hanlon 1AD Omar Al-sobky cast dir David McCartney art dir Isaiah Vaega lx assts Johnathon Huston, Mathew Harte m/ up Kerri Thomassen grip Kerem Blumberg runner Jason Daniels stunt coord Craig Dunn stunt rigger Noodles stunt dbl Adrien McGaw ed Ben Fowler compsr Peter Laussen audio Kieran Clarke vfx art Paul Jones colourists Allan George, Ben Fowler art Leslie Chih cast Patrick Morrison, David McCartney, Samuel Thomas, Lathan Lockwood, Isaiah Vaega, Duane Haugie, Andrew Jenkins, Allan George


30x26mins studio panel sports prod co Mäori TV exec prod Carol Hirschfeld prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond


10x28min cutting edge science & technology brdcst TVNZ 7 prod co Buto Productions exec prod Glenn Elliott n/work exec Philipa Mossman asso prod Karen Bunting prod mgr Jenna Steel prod cam ops Richard Harling, Greg Parker dirs Andrew Whiteside, Dave Hay rsrch Rachael Hennessey eds Niki Hiini, Jack Woon


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


13x30min children’s drama prod cos Gibson Group (NZ), Initial (Endemol UK) prods Dave Gibson, Christopher Pilkington line prod Chris Tyson asst to Dave Gibson Anna Middleton scrpt ed Karen Curtis writers Andrew Gunn, David Brechin Smith, Briar Grace Smith, Chris Ellis, Sarah Nathan, Deborah Wilton, Edwin McRae, Kate McDermott, Ben Marshall, Joss King dir Danny Mulheron prod mgr Jo Hiles prod coord Kristen Rowe prod sec Sally Cunningham prod asst Lucie Camp prod rnnr Andy Campion accts Kathy Regnault prod des Kevin Leonard Jones art dir Nick Riera onset art dir Josh Barraud art dept asst Heyden Hughes props buyer Nicole Spackman s/by props Taylor Wikohika model maker Ivan Rooda art dept rnnr Campbell Waugh const mgr Russell Stoupe leadng hnd Sandy Wilmar 1AD Robin Wilson 2AD Jacqui Pryor 3AD Bruno Du Bois DP Simon Baufield f/puller Roger Feenstra vid asst Tammy Williams TVNZ snr cam op Richard Lander TVNZ cam op Jane Vaughan TVNZ add cam op Andrew Wiggins TVNZ cam asst Tim Butters, Nathaniel Brunt cast dir Rachel Bullock xtras coord NZ Nathan Meister xtras coord Raro Serena Cowan cast tutor Sharon Milton caterng Billie Lusk cont Sandra Dryden cost des Gillie Coxill cost sup Chris Pickard cost s/by Elizabeth Watson cost asst/run Emma Lodge sewer Sarah Muir, Cathy Harris offc mgr Roger Leslie grip Oli Harris safety offc Neal Luka loc/unit mgr Raro Maurice

Newport gaff Giles Coburn b/boy Jamie Couper gene op/electrn Ants Farrell TVNZ lx dir Roger Wallan TVNZ lx Byron Sparrow key m/up/hair des Hil Cook m/up artist Angela Duncan ed Ben Powdrell cgi sup John Strang fac mgr Rex Potier gg online ed Adam Sondej freight coord Sarah Bicknell snd rec Don Paulin boom op Sam Spicer stunt coord Rodney Cook unit mgr Gabe Page n/works TVNZ, BBC (UK) cast Pax Baldwin, Holly Bodimeade, Lara Custance, Georgia Fabish, Nua Finau, Miranda Harcourt, John Wraight


3x3hrs, 1x6hrs, 42x26min NZ Kapa Haka National comp prod co Mäori TV exec prod Carol Hirschfeld prod/event dir Derek Wooster field dir Ngatapa Black highlight dir Brendon Butt prod mgr Pam Cain snr prod mgr Sandra Richmond


30x26min studio panel sports prod co Mäori TV exec prod Eruera Morgan prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond


5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod mgr Christine Drew NHNZ DPs Max Quinn, Alex Hubert stgrphr Karl Schodt loc asst Lindsey Davidson rsrchr Brant Backlund eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network


10x60min doco prod co NHNZ co prod 3net (Discovery, Sony & IMAX) with CICC exec prod Craig Meade DP/ strgrphr Mike Single series post prod Ian McGee prod mgr Christine Drew rsrchr Jane Adcroft loc fixers Felix Feng, Lauren Wang CCIC fixer Li Pei eds Jason Lindsey, Chris Tegg, Jason Horner snd Alan Gerrie, Errol Samuelson strscpc online & grade Park Post Road mus Audio Network


5x60min doco prod cos NHNZ & Beach House Pictures co pro 3net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod Jocelyn Little post prod BHP Janine Campbell prod mgrs Christine Drew, Sandra Chia, NHNZ DP Max Quinn BHP DP Brad Dillon strgrphr Mike Single dir Kenny Png cam asst Lau Hon Meng eds Jason Lindsey, Joel Tan, Sean Ashley snd Stacey Hertnon, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network


prod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Hollings rsrchr Pania Papa, Puka Maeau pres Pania Papa dirs Te Rangitawaea Reedy, Greg Mayor prod mgr Trudy Steele snr prod mgr Sandra Richmond


HD doco prod co NHNZ ( exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling

ANZAC 2010

1x17hrs coverage of Anzac Day prod co Mäori TV exec prod Ross Jennings prods Carmel Jennings, Te Rangitawaea Reedy prod mgr Leichelle Tanoa snr prod mgr Sandra Richmond


40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Elaine Parker prod asst Nathalie Chang reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding, Stephen Chu, Jasmine Pujji rsrch Geraldine Ramirez cam op Dave Flynn ed Jeff Avery audio post Envy Studios

40x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent exec asst Sean Webster dirs Emma Calveley, Magdalena Laas, Gemma Murcott Ward, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod acct Jane


30x26min Māori language, youth careers prod co Maori TV exec prod Carol Hirschfeld prod Mechele Harron pres Tupoutama Paki dir Robynleigh Emery, Paora Ratahi prod co Anahera Parata prod mgr Trudy Steele snr prod mgr Sandra Richmond


6x60mins prod co Screentime exec prod Philly de Lacey dirs Mary Durham, Rita Attwood, Peter Bell, Eugene Carnachan, Bryn Evans prods Mary Durham, Peter Bell, John Keir prod mgr Kates Moses cam op Chris Matthews, Gavin Stroud, Daniel Apiata, Scott Behrnes eds John Kirk, Alex Behse, Roger Yeaxlee online ed Keith Mclean




Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn, Gemma Murcott Ward cam Sean Loftin, Daniel Wrinch snd Damon Arts, Eugene Arts gfx Brandspank ed Attitude Pictures offline eds Simon Hyland, Jai Waite, Levi Beamish online ed Simon Hyland snd TVNZ, Simon Weir reporters Tanya Black, Dan Buckingham, Cameron Leslie

48x60min prod co Trackside exec prod Mandy Toogood prods Matt Smith dirs Jamie Annan, Glen Bourne, Brendan Burns, Marty Henderson host Brendan Popplewell prod asst Nichola Johnson eds Elena Ash, Shane Devitt, Iain Logan, Rhyce Barker


prod co Greenstone Pictures ho prod Andrea Lamb prod Anna Lynch line prod Kylie Henderson prod coord Catriona Goodey fund TV3


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


prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Clare Parsons fund TVNZ


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


prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Peacocke prod mgr Rachael Fleury prod asst Siobhan Kelly fund TVNZ


52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panellists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan


prod co TVNZ Prod Unit exec prod Tina McLaren prod Sally-Anne Kerr line up prod Melanie Phipps script eds Mary-Lou Harris, Simon Ragoonanan dirs Jim Curry, Alan Henderson, Mark Owers dir asst Christina Dolman prod mgr Dawn Aronie prod asst Samantha Fisher spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston, Sally Page, Pirimia Burger, Gabrielle Paringatai-Lemisio rsrchr asst Liana McPherson sponsorship mgr Merril Thompson adv prod Amber Smith adv prod mgr Donah Bowers-Fleming adv dir Rachael Hennessey adv prod asst Julia Lynch


30min youth prod co Mäori TV exec prod Carol Hirschfeld prod Wiremu Te Kiri asso prod/prod mgr Teremoana Rapley dir Kataraina White pres Amanda Jay Ashton, Nawaia Watene, Junior Paparoa rsrchr Adam Burrell stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond


11x26mins & 2x52mins hairdressing & make up reality competition for a scholarship prod co Mäori TV prod Jeni-Leigh Walker dir Wayne Leonard pres Matai Smith prod mgr Pamela Cain

The 2011 Data Book will be available soon. Order your copy today for just $25 + GST

march 2011


n Productio Listings

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

prod des Gary MacKay art dept co Jacinta Gibson set dec Angeline Loo art dirs Emily Harris, Paul Murphy set dec asst Rose Worley s/by asst James Rennie s/by props Owen Ashton, Craig Wilson prop buy Jo Larkin construct mgr Chris Halligan catering Rock Salt Catering cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert gx Savannah MacIntosh post prod sup Grant Baker pub Tamar Munch pub asst Lucy Ewen stills Jae Frew cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy




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


prod co Greenstone Pictures exec prod Cass Avery prod Sam Blackley prod mgr Laura Peters prod coord Elea Huston fund TVNZ


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


10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec ic prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrch Marina De Lima, Stephanie Antosca, Bridget Baylin, Alissa Collins Latensa, Amy Kagelmacher, Jacqui Morice Crawford, Peter Holmes dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dirs Jacqui Morice Crawford, Quinn Berentson, Janice Finn offline eds Christopher Tegg, Karen Jackson, Thomas Gleeson


30mins indigenous current affairs prod co Mäori TV pres Lynette Amoroa exec prod Te Anga Nathan asso prod Kelvin MacDonald prod Patagaw Talimalaw prod mgr Sharmaine Moke prod coord Ripeka Timutimu


prod co Greenstone Pictures ho prod Andrea Lamb exec prod Sophie Dungate prod Simone Goulding prod mgr Alix Wilson prod coord Linda Loevoll fund TVNZ


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



60min weekly current affairs prod co Mäori TV gm Te Anga Nathan exec prod Colin McRae prod Wena Harawira prod mgr Sharmaine Moke dirs asst Pene Bush snr reporters Annabelle Lee-Harris, Makere Edwards, Iulia Leilua, Chas Toogood rsrch Kelvin McDonald pres Julian Wilcox


prod co Greenstone Pictures ho prod Andrea Lamb asst prod Kathryn McMillan rsrchr Katrina Inkster prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ


prod co Mäori TV prod Toi Iti rsrch/pres Ruia Aperahama rsrchr Tipare Toi snr prod mgr Sandra Richmond


26x26min NZ Film Archive show prod co Mäori TV exec prod Carol Hirschfeld prod Michele Bristow pres Lawrence Wharerau dirs James Ratahi, Ira Heyder prod mgr Trudy Steele snr prod mgr Sandra Richmond 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald writers Gavin Strawhan, Rachel Lang, Kate McDermott, Nick Ward head of devt Tim Balme dirs Mark Beesley, Murray Keane prod mgr Jo Tagg prod co Natalia Perese prod sec Laura Thavat script co Rachael McMahon prod run Tim Burnell accts Lee-Anna Hasson, Elisha Calvert asst acct Sheree Silver 1ADs Gene Keelan, Mark Harlen 2ADs Sophie Calver, Kylie McCaw 3AD Kate Hargreaves script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tatton loc asst Rick Waite loc asst trainee Linda Musson unit mgr Amy Russo unit asst Josh Dun DPs Dave Garbett, Dave Cameron cam op Oliver Jones gaffer Nare Mato b/boy Trent Rapana gen op Jason Kerekere lx asst Eruera Sutherland key grip Gary Illingworth asst grip Conrad Hoskins snd rec Myk Farmer boom op Matt Cuirc snd asst C J Withey cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Jo Fountain m/up arts Jacqui Leung, Shannon Sinton, Tracy Nelson


march 2011


36x30min prod co Screentime exec prod/prod Philly de Lacey, Mary Durham dirs Scott Hindman prod SarahLuise Hornblow asso prod/rsrch Katherine Birchall prod coord Olivia Lynd gfx Marcus Brill, Kathy Kennedy pres Graham Bell offline ed Emma Copeland online ed Keith Mclean


prod co TVNZ prod unit TVNZ exec prod Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi


prod co Greenstone Pictures ho prod Andrea Lamb prod Simone Goulding prod mgr Laura Peters fund TVNZ


40x30min wkly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dirs Jerome Cvitanovich, Kirsty Cooper asso prod Liz Kruse prod mgr Rosie Smith prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan pres Roger Bourne


11hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond


10x30min children’s factual entertainment TVNZ prod co Gibson Group exec prod Dave Gibson prod Bevin Linkhorn prod mgr Inga Boyd dirs Dan Henry, Michael Huddleston rsrch Jane Robertson prod coord Kristen Rowe DP Grant Atkinson cam op Gary Hopper u/w cam op Murray Milne snd1 Craig Mullis snd2 Michael Keslake cam asst Wayne Biggs art dept Simon Clentworth art dept asst Talor Wikohika prod asst Sally Cunningham safety officer Neal Luka pres Dayne Vawdrey chaprns Patrick Powdrell, Anita Wakefield ed Ben Powdrell n/ work exec Kathryn Graham

prod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson prod asst Rochelle Leef fund TVNZ


5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Sharron Jackson dirs Geoff Cawthorn, Jonathan Alver, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson script prod Paul Sonne s/liner/story ed Paul Hagan s/ liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Kelly Real script typ Casey Whelan prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech mgr Malcolm C Saunders vis mix Fran Hodgson lx assts Nick Hakaraia loc DP Drew Sturge loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Sophie Guthrie, Ross Goffin, Andy Currie art dept mgr Sophie Elworthy stby prps Natalie Tsuchiya, Scott McDowall art dept assts Brooke Darlison, Logan Childs gfx coord Alex Kriechbaum cost des Nicola Newman asst cost des Rebecca Jennings cost stbys Katie Jones, Joss Henry, Genista Jergens cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/ up Toni Anne Arbon, Katie Fell, Sophie Beddoes ed Anna Marshall-Inman asst ed/digitiser Matthew Allison online eds Steven Mountjoy, Mariano Segedin, Kevin Henderson, Adam Page, Sean Rooney snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Kate Jones dialogue coach Shirley Duke, Linda Cartwright asst chaperone Renee Lyons comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Kiel McNaughton, Matt Chamberlain, Sarah Thomson, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Ari Boyland, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid


13x26mins Auckland War Memorial Museum tells stories of 13 Taonga prod co Mäori TV exec prod Eruera

Morgan prod Mechele Harron dir Tihini Grant prod mgr Trudy Steele snr prod mgr Sandra Richmond


12x26min fishing/lifestyle b/caster Mäori TV prod co AKA Productions prod/dir Aroha Shelford pres Pio Terei cam ops Richard Curtis, Mike Jonathan u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Richard Morrell prod asst Lettica Shelford n/wrk execs Reikura Kahi, Melissa Wikaire


30min wkday, 20min wkend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign eds Aroha Treacher, Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Mark Robinson reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Harriman, Mere McLean, Rahia Timutimu, Heeni Brown, Rau Kapa, Numia Ponika-Rangi, Kereama Wright, Jasmyn Pearson prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama


30min wkly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Mark Robinson prod/pres Waihoroi Shortland prod co Ripeka Timutimu


44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/prod acct Deb Cope dir Dean Cornish sen rsrchr Sue Donald rschr Sue Killian


15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King n/wrk Philippa Mossman


30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Tim Morton prod asst Riley Stewart ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King, Geoff Reid audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Kerry Du Pont prod mgr Jo Eade asso prod Kate Roberts prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham


8x60min prod co Screentime exec prod Philly de Lacey dirs Peter Bell, Tom Reilly, Ross Peebles, Mary Durham, Rupert MacKenzie prod Carolyn Harper prod mgr Kate Moses cam ops Chris Matthews, Gavin Stroud eds Roger Yeaxlee, Alex Behse, Margaret Kelly, Lisa Hough online ed Keith McLean


prod co Mäori TV exec prod Matai Smith prod Jade Robson snr prod mgr Sandra Richmond


prod co Greenstone Pictures exec prod Cass Avery prod Bridgid Davis prod mgr Rachael Fleury prod coord Rebecca Webb prod assist Siobhan Kelly fund TVNZ


1x52min doco prod co Notable Pictures prod Julia Parnell dir Ihakara Wilson writer Dane Giraud cam op Richard Harling snd op Cameron Lenart ed Tim Grocott line prod Anne O’Brien


4x60min HD doco prod co NHNZ (03 479 9799) co prod NGCI exec prod John Hyde series prod Nicola Hammond rsrchr Marcus Turner prod mgr Kavita Chopra host Hayden Turner post dir Sandra Welkerling, Giles Pike eds Cameron Crawford, Marilyn Copland comp Leyton GFX Karsten Schneider snd Stacey Hertnon, Errol Samuelson vid post Stu Moffatt, Frank Lodge


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


1x90min doco prod co Ora Digital, StanStrong prods Merata Mita, Cliff Curtis, Chelsea Winstanley dir Merata Mita pres Cliff Curtis prod mgr Desray Armstrong prod asst Tweddie Waititi rsrch Merata Mita te reo Mäori Hone Kaa fund Te Māngai Pāho, NZOA, Maori TV brdcst Mäori TV


6x23min prod co Super Fumes prod Carthew Neal exec prods Carthew Neal, Madeleine Sami consult prod Paul Horan writers Madeleine Sami, Thomas Sainsbury dir Taika Waititi line prod Leanne Saunders prod coord Chelsea Francis runner Gilly Luxton casual prod Hayley Cunningham stills Louise Hyatt prod acc Diane Illingworth 1AD Hamish Gough, Quentin Whitwell, Richard Matthews casual 1AD Katie Tate 3AD/unit Roberto Nascimento, Patricia Phelan, Richard (Ricky) James Silvester dir asst Prue Clarke loc mgrs Martin Hale, Richard Mills cas loc Andy Brown DP Jake Bryant cas DP Rewa Harre cam op Johnny Renata cam asst Ciaran Riddell cam intern Chesney McDonald snd rec Colleen Brennan, Craig O’Reilly boom op Nikora Edwards, Adnan Taumoepeau, Sam Good cas boom op Sean O’Reilly m/up des Dianne Ensor m/up art loc Anna Dewitt, Miranda Ramen m/ up asst Abigail (Abby) Poynter cos des Larissa Lofley w/ robe asst Hannah-Lee Turner, Lucia Farron-Diamantis art dir Dion Boothby art dpt asst Lisa Dunn cas art asst Haley Williams, Pritika Lal, Ethan Montgonery-Williams ed Cushla Dillion ed asst Dione Chard, Beau Rebel safety Scene Safe, Thunderbird Saftey post fac Toybox - Olin Turrall, Trinette Norton dialogue ed Chris Todd snd des Tim Prebble ntwrk exec Rachel Jean lawyer Matt Emery thanks South Seas Film School, Unitec & AUT for intrn Anna Cecelia Rowe, Aziz Al-Sa’afin, Bec Sproule, Brooke Jackson, Chris Stratton, Corinne Ash, Elizabeth Maddison, Enny Benzonelli, Facundo Canaves, Gemma Duncann, Genevieve Driver, Gracie Emberson, Henric Matthiesen, James Watson, Jorge Alfaro, Josh Finnigan, Kristy Wallace, Lennie Galloway, Lisa Moore, Lisa Fothergill, Lydia Stott, Nikita Wist, Philip Copley, Rosie Abel, Tammy Brenstrum, Willem Crowhurst cast Madeleine Sami, Rose McIver, Jessica Joy-Wood, Calvin Tuteao, Mick Innes, Gillian Baxter, Rachel House, Nikki Siulepa, Fiona Edgar, Yvette Parsons, Fred Bishop, Edith Poor



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

90min telefeature prod co Lippy Pictures writers/ prods Paula Boock, Donna Malane dir Charlie Haskell line prod Angela Littlejohn DP David Paul 1AD Richard Matthews 2AD Robin Wilson 3ADs Chloe Forbes, Kevin Armstrong f/puller Charles Edwards c/loader Andreas Mahn prod coord Desray Armstrong prod asst Jimmy Hayes prod asst/runner Michael Robins cast dir Tina Cleary extras coord Yvette Reid script sup Merrin Ruck prod acct Maurice O’Reilly rsrchr Angela Boyd miniature train Weta Workshop miniature train sup Ian Ruxton snd rec Chris Hiles boom op Steven Harris prod des John Harding art dirs Ben Milsom, Campbell Read art dept coord Mary Connolly lead prps/byr/ dresser Rosie Guthrie prps/byr/dresser Gim Bon stby prps Josh O’Neill art dept asst Jody Conaglen constr mgr Russell Stoupe carpenter Hugo (Sandy) Wilmor scnic art John Cruickshank brushhand Jeff Koning key grip Hamish McIntyre grip asst TK Bedford gaffer Adrian Hebron b/boy Matty Andrews gene op Hansel Verkerk lx asst Mark Matchett cost des Nic Smillie cost sup Amanda Neale cost stby Sam Morely cost asst Kate Trafford patternmaker Sheila Horton cost runner Rose Morrison m/up des Linda Wall m/up asst Jayne Donaldson stunt coord Augie Davis safety Rodney Cook loc mgr Kevin Magill loc asst Wayne Hart transport Ardy Matthews unit mgr Josanne Tane ed Paul Sutorius cast Rose McIver, Ryan O’Kane, Taungaroa Emile, Miranda Harcourt, Mick Rose, Dean O’Gorman




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


13x26min Spiritual ideals prod co Mäori TV exec prod Carol Hirschfeld prod/dir Ngatapa Black pres Mere Black prod coord Mark Ihaia prod mgr Trudy Steele snr prod mgr Sandra Richmond

prod co Greenstone Pictures ho prod Andrea Lamb prod John Bates prod mgr Hebe Van Schagen prod coord Carita De Jong fund TVNZ

1x60min doco prod co PRN prods/dirs Malcolm Hall, Paul Trotman cam Stephen Dowwnes, Michael McLeod ed Josie Haines

THE ACADEMY RECOGNIZES EXCELLENCE. SO DO WE. Here’s to this year’s OSCAR® nominees that brought their stories to life with the unmistakable look of film. KODAK Film.

© Kodak, 2011. Kodak is a trademark of Kodak. Oscar is a registered trademark of the Academy of Motion Picture Arts and Sciences.

ONFILM March 2011  

Screen production, NZ film, Digital filmmaking, NZ TV, NZ television