NZTECHO - Winter 2022

WINTER 2022 | ISSUE 93

The Screen Industry Guild Aotearoa New Zealand quarterly

Anna Low and Rory McTavish on horses for film.

Meet Grip HQ. 48 Hours turns 20.

Goodbye, Paul Grinder and Paul Chattington.

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EDITORIAL

CONTENTS

Hi all,

GUILD NEWS & VIEWS

And welcome to issue #93. After our last issue being delayed as pretty much everybody who was contributing got sick, I guess it's only karma that this issue was delayed for a week because the editor got the flu. For the first three days, I thought it was the virus again. But when I started actually feeling better by day four, I figured it was just a dose of whatever flu's are circulating this year.

2

Behind the scenes Kelly Lucas

3

President’s rave Brendon Durey

According to the Ministry of Health, there's at least three strains of influenza in the country at the moment, and at least one of them is a real bastard. Since the borders have been mostly closed since 2020, our immune systems are way behind where they should be. So, even people like me, who have never bothered to get a flu shot, because we have never really been that sick before, are well advised to take care and get a jab. Trust me, I wish to hell I had before it was too late.

INDUSTRY 5

Horses on film. An appreciation from Rebecca and Rachael Rowe.

10

48 Hours turns 20. From Ruth Korver.

TECHOSPHERE 13

Grip HQ - industry spotlight.

16

In memory of Paul Chattington.

18

In memory of Paul Grinder.

22

Regional wrap

28 Newbie: Meet Lisa Presst.

Anyway, #93 is here now, and it is packed.

You will find the first in a new series we are launching about New Zealand's film service and supply companies. Grip HQ are a foundation stone of the modern New Zealand film industry and we are proud to highlight Spotty and his crews in this issue. If you want your company to be the focus of a feature in NZTECHO, let us know.

We are also running pieces on the role of horse trainers in the industry, and on the amazing role the 48 Hour Film Competition has played in developing new film-making talent over the last twenty years.

As well, you will find quarterly wrap-ups from all our regions and contributions from President Brendon Durey and Kelly Lucas at the Guild.

We also run two tributes, to two absolute gentlemen of the industry. Legendary Auckland AD and friend to everyone he met, Paul Grinder. And to the veteran and hugely respected Wellington Sound Recordist, Paul Chattington - Chatts.

Cover photo: Paul Grinder on Xena.

A Pacific Renaissance production.

ISSUE 93 WINTER 2022 Editor Graeme Tuckett Publisher/advertising Kelly Lucas Design Jason Bowden / Anim8a Ltd Printing Pressprint Ltd Contributors Graeme Tuckett Rebecca Rowe Rachael Rowe Ruth Korver Ange Hume

Advertising Advertising queries, please contact Kelly Lucas on 09 8899522 (always dial 09), info@screenguild.co.nz. For a copy of our ad specs and rate card, please visit our website.

All contents are copyright Screen Industry Guild Aotearoa New Zealand Inc. 2017, unless indicated otherwise. May not be reproduced, copied or transmitted in any form without permission.

The views expressed in this publication do not necessarily reflect the views of the Screen Industry Guild Aotearoa New Zealand Inc. ISSN 2703-6111 (Print) ISSN 2703-612X (Online)

And, we have lost another great one this month.

The director, mentor, writer, curator and all-round good bastard Luit Bieringa has been a luminous and well-loved figure in several industries over the decades, and film was definitely one of them. Farewell Luit, and our love and gratitude to you, Jan and Sven, Olive and Kris.

GOLD STARS & CHOCOLATE FISH

Enjoy, stay safe - and get a flu' jab. Seriously.

GT and Jason.

N To every Guild member still here and ready to work. It's been a hell of a year, be proud you made it through.

www.screenguild.co.nz

2 | NZTECHO Winter 2022

BEHIND THE SCENES

With over 20 years in the film and TV industry, Kelly Lucas is now executive officer for the Techos’ Guild.

Executive Officer Kelly Lucas Kia Ora. Sadly we have had to say goodbye to member Paul Grinder this past month and to Paul Chattington, who also passed away way too early.

My heartfelt thoughts go out to both Paul’s family and friends at this time. Please see the two salutes to these men in this issue.

It’s a humbling time when people in our community pass. It makes us all reflect on how precious life is and how important we are to each other.

It’s hard to sit and write this knowing how the past couple of years have taken a toll on everyone’s mental and physical well-being. We need to take a minute and check in on yourself, your fellow crew, family, and friends to see how they are doing, and please reach out for support if you need it or you see someone struggling with their health or well-being.

So please take care out there. I know the stress our sector brings and the toll it takes; your health is more important than anything.

So with this in mind, SIGANZ will be hosting networking evenings so everyone can get together, relax and have a good catch-up.

With all things COVID, taking some time out with our peers has been challenging. So in August, we will have the first networking nights in each of the four cities – Auckland, Wellington, Christchurch, and Queenstown. We will shout a couple of drinks and food for each member who attends and take a night to celebrate the lives of those who have passed this year, relax and chat. We will send out confirmed dates in an email update soon.

The sub committees have been busy finalising The Blue Book and Rate Card

Review. These are in the final consultation phase and will be ready to release in the coming months. I want to say a BIG thank you to everyone who has taken the time to participate in these important reviews.

The next round of Professional Respect Workshops will be hosted in Auckland and Wellington in August and Christchurch in September. Please take the time to attend these workshops when the dates are released. We encourage all HODs to participate in these workshops and these steps towards creating safer working environments for everyone.

You would have heard that the Screen Industry Workers Bill is going through its final readings. The second reading was supposed to happen at the end of June, and we are waiting for the next date to be confirmed. Once the bill has passed, we will be hosting information evenings to educate our members and broader industry Production Technicians on how it will affect you as a contractor.

Our Business Toolkit is being finalised as I write this. We are working on delivering this information to our members online.

The toolkit will include information on tax, valuable templates, how best to set yourself up as a contractor, negotiate your contract, and more. We will have this ready in October and as interactive as possible to make the information easy to understand and accessible whenever you need it.

In closing, COVID seems to be hitting us at home and onset, so please remember to take care of yourselves and each other.

Your health and well-being are important, especially as the industry is starting to get busy again. COVID adds another layer of stress for everyone.

Ngā mihi nui, Kelly.

NZTECHO Winter 2022 | 3

PRESIDENT’S RAVE Guild President Brendon Durey It’s a strange time now. I’m not sure if we are coming out of the shadow of Covid or if we are going to continue to be affected by it for an ongoing time.

It seems that other regions offshore who have going through the Covid mill earlier are moving on with life, perhaps because we were comparably late to the Covid party and its now hitting winter we are going to be caught in its effects well after other screen industry regions have moved on. I know one thing for sure we are likely to be wearing masks on set for a good long time to come.

That component seems to be the one constant across the international screen industry.

I just hope that the schedule havoc that a constant stream of infections seems to cause a production will fade into the background as we get used to living with what is increasingly becoming another commonplace illness in your lives.

The passing of Paul Grinder recently was a huge shock to many in the New Zealand screen industry. Paul had been a fixture for decades as a First AD, Director, Producer and all-around trouble shooter for many TV shows, productions, and commercials. Paul had a strong work ethic, a quirky and Lifeguard & Safety 181mm x 65mm.pdf

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SPECIALIST FILM & TV SAFETY

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irreverent sense of humour, and a detailed understanding of filmmaking and how to get the best out of a crew.

I have many memories of Paul from early days working with him on Xena in the 1990’s, Then the hazy crazy blood-soaked days on Spartacus second unit where Paul always seemed be able to deliver the grotesque and sublime sequences the writers were after.

I, like many people am going to miss him a lot. Paul Grinder was always a bit of a loner for as long as I had known him and in the gig economy, contract-based existence that many of our membership exist in you can feel isolated from time to time and combined with the long hours, people’s mental health and sense of connection can suffer.

The guild is wanting to have more networking events and more speaker courses, and activities where our members can network interact and generally connect with others in their field outside work. If anyone has any ideas for speakers, activities, or events that the guild can put on, reach out to your branch committee members and pass it on.

Brendon Durey.

11:36 AM

Lifeguard & Safety have been working with Production Companies for over 20 years, on projects ranging from music videos & film school shoots, low budget television & features, up to major motion pictures.

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If it’s the Health & Safety at Work Act 2015 causing you concern, we have been working with ScreenSafe, WorkSafe NZ & several legal companies & consultants to find the best solutions for the Screen Sector.

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4 | NZTECHO Winter 2022

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NZTECHO Winter 2022 | 5

IN FOCUS

Saddling up with Anna Low and Rory McTavish

By Rebecca Rowe and Rachael Rowe

“The essential joy of being with horses is that it brings us in contact with the rare elements of grace, beauty, spirit and freedom.”

– Sharon Ralls Lemon What is it about horses that makes some swoon and others marvel at the way they move? The flare of a nostril, a tail flick, heaven forbid a whinny and those damn eye lashes surrounding the biggest molten eyes that pierce through you to unveil your undying love and admiration to them. Or for some, the intimidation around such a large beast and then be asked to ride brings sheer panic and nausea. Whether you are an avid fan or live in fear of them, horses exhume a

And yes we’ve all heard the archaic saying “never work with children and animals” but many would agree that any chance to be in the vicinity of working around horses becomes a highlight to your day to day existence.

Two people that couldn’t agree more are Horse Master’s Anna Low and Rory McTavish who have the privilege of building their career up around working with these majestic beauties. Together along with other companies have started a collective called NZ Film Horse Alliance.

We asked them to share their fondest memories and career highlights as they look back on past experiences as part of New Zealand’s Film and TV industry.

mystical presence that many other four

Auckland based Anna Low (Mama Low

legged creatures do not.

Ltd) has worked with horses for 40 years,

6 | NZTECHO Winter 2022

for corporate and live events. A particular

What’s been your latest shoot where the medieval style has been the focus?

niche for Anna are medieval displays &

We recently did a music video with Michael

competitive horse archery, something

Murphy’s band, Written by Wolves.

22 of these have been in the Film and TV industry while also providing horse work

Anna excels at given she’s an ex NZ horse archery champion.

The success and experience of both has allowed Anna to travel around the country for competitions and re-enactments, both on and off camera.

We asked Anna to tell us more...

We provided the Knights horses. We also performed at Medieval Madness, and showcased our horse archery team.

What’s been the most challenging role you’ve had to train a horse in?

That was Horse Master and Safety Supervisor on a Reality TV series My Big

Tell us about the Medieval work you do with horses.

Fat Indian wedding for sure. It was a US

Currently I lead a team of horses and

Kiwi. Not much can match 14 horses, 40

riders that are experienced in skill at arms and performing live in front of an audience and we do medieval performance on film. Our horses are well trained war horses and we have alliances with Viva LA dirt league. We also work with First Scene and Propeller who supply costumes and dressings. As well as this work being a whole lot of fun, it’s given me contacts up and down the country for future re-enactments.

/ Indian Co production that was shot in New Zealand due to the bride being a wranglers, 1000 people, 8 helicopters and all being filmed live and beamed to 80 million people.

That was also my largest production and while we have since done many more weddings, none have been quite on that scale.

Equitana Auckland (Australasian largest equine event) was also quite challenging logistically. 60 presentations over 4 days with 6 horses, 8 riders and 10 wranglers.

How many horses do you currently have on your books, what breeds and what key capabilities do they have?

I have two hero horses, two up and coming heroes and two veterans who are now semi-retired. We have a type, rather than a breed. A NZ Stationbred. A stable nimble horse that is beautiful, powerful and supple. Stationbred is a term that describes the environment that it was brought up in rather than its breeding.

The key capabilities of my horses, are what we also look for in our human

NZTECHO Winter 2022 | 7

What’s the most important aspect when creating a relationship with a horse when training it for a specific role?

The most important aspect of any role is time. Our live work has shown us the importance of prep. Nothing can substitute time.

In all of your years of experience what horse pops into your head and why?

team! Being able to take direction under pressure, to perform when all eyes are on them all the while thriving in that spotlight. They also need to bring calm when chaos is all around them, and be always trusting, even when scared.

Outside of your own horses, do you have access to other horses when a Production requires numerous or specific horses?

Yes I have access to as many as I need NZ wide due to an alliance of horse trainers and wranglers. There’s a great network of companies working together to raise the profile of the NZ Film and crew. Working together helps showcase our experience and talents collectively to the domestic and international companies requiring our services. I have actually jumped between the Horse department and Transport department for about 15 years now also and have got to know most of the locations used in film very well. This helps us advise productions when they are considering using horses on set and how to move them round the country in a non-stressful, streamlined way.

Cruise, always Cruise. Cruise is my Percheron X Anchor Horse who’s been with me for 24 years and is now retired.

He has taught me so much over the years. Cruise was the first horse to teach me a quiet horse is not in control, but an in control horse is always quiet. He's taken me round the country, and never missed a beat. He’s stable and reliable about grounding the other horses when sometimes they get anxious. He's had riders who have never touched a horse before ride him at a gallop with no saddle and bridle. He shares his energy with the crew and helps them learn that horses that are trained and prepped well are fit for purpose and love their jobs.

Anything you’d like to add Anna?

Our methods of training should be transparent and able to be scrutinized to the highest level. Training is continually upskilling and learning how to do things better. Things that benefit the animal as well as the trainer. The days of using animals as if they are machines is coming to an end thankfully.

8 | NZTECHO Winter 2022

"No hour of life is wasted that is spent in the saddle." Winston Churchill Rory McTavish (Action Horse New Zealand) is based in North Canterbury and has over 20+ years’ experience as a professional horseman having worked in both the horse and stunt department all around the country. Within this time Rory has “started” around 1000 horses.

He thrives on taking that young paddock ornament or wild St James horse and turning them into trusted mounts for people. Currently Rory has 8 film horses.

They live with him, his wife and boys on their 10 acre block which leads out to the forest bordering Waikuku Beach. Clearly a hard life for Rory’s horses.

Another was just recently as Horse master for a short film that was made right here in North Canterbury, ’The Meek’ directed

by Gillian Ashurst. I really enjoyed this film for several reasons; I got to take a nice horse to set, supplied a good rider who is also training in the stunt industry so we could put forward some action. The small cast and crew thing was fantastic and yeah it felt pretty good to be doing the local thing in this beautiful region. If you haven’t seen this short, I encourage you to.

Is there a particular part of horse action or stunts that you and your horses specialise in?

We ask Rory about his work history, his

No, I don't really have a distinction between my horses as in whether they are cast horses, stunt horses, liberty horses or what have you - my horses need to be

horse abilities and his closest bond.

versatile just like any film worker.

What are a couple of career highlights for you?

What is your key focus when faced with challenges in the Industry?

Prince Caspian. I really loved the adventure of it as it was my first time away on a feature with a couple of my own horses. I was watching Ricardo Cruise train horses for 3 months and then one day, Boom, the Stunt Department was short a few stunt riders so I went and asked Al Poppleton if I could join in and next thing I’m a Telmarine soldier. It was from there along with my fledgling horse skills and a few other talents I had picked up from various wild pastimes that I gained admittance to the NZ Stunt Guild.

If we are to be honest there are tales of animal abuse in our industry, it's the ugly side no one talks about but it exists nonetheless. There is a saying amongst some horsemen, ‘When knowledge runs out, force begins’ which I don’t resonate with so I have purposely made it my business to learn as much as I can from both the young horses I’ve trained as well as the time spent with visiting Horse masters. Additionally on the ground I learn so much watching the person on the horse because this is in itself a conversation and I hear both sides. I

NZTECHO Winter 2022 | 9

know now how to set the horse up to win, how to not over face the horse but to challenge them nonetheless, and how to make them want to do something for me rather than be too scared not to. This way when the heat really comes on, I am the one to steady the wild heart, to make them brave and confident because when the lights are on and the camera is rolling and all is a go in the chaos of a battle scene, it pays to remember that everyone is acting - except the horse. I would really like to see further supervision of the prepping of horses for film to ensure welfare issues are observed. I’d also like to see better cooperation between the Stunt and Horse

this connection was a bit special. He was pretty feral when I went and brought him as a 3 year old but would now be the bravest and most versatile horse I have ever come across. Wolf loves to work both horses and cattle, I use him in ANZAC parades, on film sets right in the action.

My 9 year old also loves riding him. He’s an absolute champ when we help run stunt riding schools with the awesome NZ Stunt School, and right now he’s working with Shooting Star Stunt Riding where he has learned trick riding and mounted archery to a high level. He’s got not a bad

departments again.

Ok quick side-line question – what’s a liberty run??

What’s the most important thing for you and your horses when performing on sets?

That would be preparation. Everyone (humans and horses) needs to know what’s being asked and when to play their part. There’s a saying ‘Proper preparation prevents poor performance.’

In all your years’ experience what horse do you have the strongest affinity with and why?

My favourite saddle horse is a big black Fresian ‘Wolf’. We were both born on December 19th with a few decades between us which I’ve always thought

liberty run on him too!

A liberty run is where a horse is taught a movement pattern or tricks without a rider to assist.

Any last comments Rory?

I just want to say that I feel privileged to be part of this industry and grateful to have colleagues and friends like Dayna Grant (NZ Stunt School) and Anna Low, who as part of NZ Film Horse Alliance help champion the horse in movie land.

“In riding a horse, we borrow freedom” – Helen Thompson

10 | NZTECHO Winter 2022

WIDE ANGLE

20 Years of Guerilla Filmmaking 48Hours

By Ruth Korver - National Manager - The Vista Foundation 48Hours This year the Vista Foundation 48Hours

about making filmmaking fun. Over

film competition celebrates the 20th-year

6000 shorts have been produced for

of guerilla filmmaking.

48Hours to date.

It started in 2003 as a sidebar to the Becks

I’ve been co-managing the Vista

Incredible Film Festival with just 44

Foundation 48Hours with Ness Patea for

teams in Auckland only, before expanding

the last five years, but my first taste of

first to Wellington and eventually taking

48hours was way back in 2005. MiniDV

over the entire country.

was the cutting edge of technology and we worked somewhere we could borrow a camera from. As a backup we had a Hi8 camera but didn’t want to use it. We had Antonia Prebble lined up to act (before she was famous) and Marty Williams ready to shoot it. We filmed most of the day, but the tape failed so we had to start from scratch mid afternoon. The film was below average and it didn’t make a load of sense but the team and I were hooked.

We liked making films, but the adrenaline rush of the time pressure, the self

Brainchild of renegade producer/ director Ant Timpson, 48Hours was all about abandoning traditional pathways of funding and slow development and instead, diving headfirst into making a film. Risks, mistakes, fast decisions, new friendships, fallings out, failure and surprise success were the name of the game. Most of all, the competition is

NZTECHO Winter 2022 | 11

confidence caused by a lack of sleep and

attribute the competition to their current

perspective and making films with my

screen career or media job.

mates was the best thing ever. 48Hours

We interviewed the director of feature

became an annual event to plan the year around and so spawned a number of not-so-great films, combined with amazing experiences.

After nine years of competing we did get better - nothing like practice to make you improve. I finally found myself in a winning team in 2013 and decided it was time to stop competing and work behind the scenes. I ended up co-managing Wellington before joining the national management squad with Ant Timpson and Ness Patea.

It's been an amazing journey and with

film ‘Snakeskin’, Gillian Ashurst, for the Future Filmmaker Workshops last week in Christchurch and she revealed her latest short film ‘The Meek’ was inspired by a 48Hours entry she did with her family a few years prior. YouTube sensations Viva La Dirt League came through the competition and are now making a living basically ‘making three 48hour films a week’ for their YouTube channel. With millions of views their comedy skits are super popular and just go to show you really can make a living doing what you love. Taika Waititi won in some of the early years of the competition

a 20-year legacy, I meet so many people

and while we can’t claim all of the credit

who have an association with the

for his success he is one of many talented

competition. Everyone has a story to tell

creatives who have cut their teeth over the

about the 48Hours, and many people

adrenaline-filled weekend event.

12 | NZTECHO Winter 2022

20-years later, times have changed.

The shoot weekend for 2022 is August

MiniDV is well obsolete and everyone

12th - 14th and registrations are open now

wants to submit a 4k version of their

at 48hours.co.nz.

film. Teams shoot those 4k films on their phones. The access to technology and the ability to do complex post production on even simple home computers and tablets has upgraded the quality of films immeasurably. School kids turn up with production quality better than the winners from those early days.

What hasn’t changed though is the filmmakers. Keen, enthusiastic, experimental and filled with imaginative ideas, there is now a whole new generation on the path to making films.

We’re seeing category winners show up on the Civic Stage who weren’t even born before the competition began, and the children of successful filmmakers are making appearances - Kyle McNaughton and Kerry Warkia’s kids came second in Taranaki a few years ago.

Whether you’re a novice who has never made a short film, a filmmaker wanting to push yourself into a new challenge and take a risk or you want to bring the old team together for nostalgic reasons, we would love to see you in the 20th year of the Vista Foundation 48Hours film competition, we want this year’s competition to be the best one yet!

For the 20th anniversary year we’ve got a prize pool of over $90,000 with an incredible top prize for the grand final winner. The Grand National Champ in 2022 will win the Grand National Champion APEE, $15,000 cash prize ($12k from Wingnut, $2k from Viva La Dirt League), $20,000 worth of post production services from Park Road Post*, $15,000 worth of gear hire from Portsmouth Film Equipment Rental*, $10,000 of licensed

That pure joy of getting together and

music from West One Music*, 1-year Digital

making your crazy idea into a film is still

Pigeon Professional subscription (valued

alive and well and the future of NZ film

at US $900 a year). There are loads of other

looks to be in capable hands.

prizes too - all listed on our website.

*T and Cs will apply.

NZTECHO Winter 2022 | 13

TECHOSPHERE

Get a Grip, The Dolly Shop, Love your Grip and GripHQ – these are names you still see on gear being used around the industry.

Thanks to a cumulative effort and hard

Who owns all this kit now and why do

honest it’s a shit load of wedges. When you

people keep saying, “just take those back

put these grip dept staples together with

to Penrose”?

equipment such as sliders, dutch heads,

For most of you, these names are familiar

dollies, jibs & cranes it all goes towards the

and its no mystery how they all came

work from many Grips over the years, the result is an accumulation of a lot of gear.

It’s a lot of scaff pipe, it’s a lot of clamps, it's a lot of weird and wonderful adaptors, offsets, bowls and boss adaptors and let's be

kit being available for all to use.

to live under the one roof in Cain Rd,

When Tony Keddy Aka “Spotty” bought

Penrose. But for those who are still

all of this equipment together under one

wondering where to return them to, we

roof, it was a chance to make the gear

thought we’d say Hi, introduce ourselves

available in large numbers to the industry

and explain how these four names all

– somewhere that ensured the kit was

came to live here in one place.

available for everyone, from one point of

As with most departments in the film industry, gear is accumulated overtime.

contact rather than inside trucks spread across the country at varying locations.

Each job requires something different

Welcome to GripHQ. With Spotty as

and with Kiwi’s can-do attitude and a key

Managing Director, Derek Slade as

grips basic understanding of engineering,

General Manager and Ange Hume on

unique equipment is created and a weird

board as Operations Manager, we want

& wonderful name attached to it, Filmed

to continue to support the industry as a

with a ‘wok’ anyone?

supplier of great Grip equipment.

14 | NZTECHO Winter 2022

So what's in the pipeline for GripHQ?

industry. This strengthens the skillsets NZ

Well, we don’t want to stop at just being

can offer and we firmly believe in looking

a supplier, GripHQ wants to also focus

forward and fostering the talent that

on education – the team all believe in

exists here. By growing our equipment

sharing knowledge, teaching by showing and encouraging people from all works of life to step in and get involved. Knowledge is power, and more importantly knowledge brings confidence. So, GripHQ together with Share the Knowledge, (a not for profit organisation) who work together with industry experts to provide specialised training courses for NZ Screen industry professionals, want to invest time into giving back and helping to encourage new and upcoming talent into the industry.

It’s not just knowledge that we can share, we also want to make sure the very latest equipment is available to all levels of the

list, we can let people have a go, by stepping up and supporting them as they transition from one position to the next.

Stepping up and trying new things can be a daunting experience but we strongly believe encouraging and supporting people to broaden their skillsets will benefit the industry immensely.

GripHQ has invested significantly in Techno Cranes & Techno Tanks amongst other things, but without trying to sound like a promo ad, please know, these investments have been made in you – the industry.

However a common theme we hear is “is it ok, If we just want the gear and not your crew?” – it sure is.

NZTECHO Winter 2022 | 15

If you want to come in and grab some advice as to how what and where your particular shot can be achieved – please, come on down, let's have a coffee and a yarn and see what kit is the best for your job. As a stalwart of the industry, most grips have trained with Spotty in one way or another. With a talent for challenging people’s mindsets to increase their potential, it means that GripHQ has an arsenal of talented and very clever crew that we can point you towards.

GripHQ now has over 45yrs collectively of industry knowledge in house. And of course, it’s a family affair, with Ange & Kana based in the Penrose warehouse, they have now been joined by Levi Keddy who has made the move from Wellington to see what all the fuss is about up here in Auckland & Jack Keddy makes the trip regularly from wellington to join the crew.

Between Spotty’s experience & knowledge of the world of gripping, Derek’s business & technical expertise, Ange’s experience as an industry supplier and of course that arsenal of talented and very clever crew we mentioned earlier - we really hope we can help support your project soon.

With four fully kitted grip trucks, four dunnage trucks, mobile engineering workshop, a fleet of transport vehicles, eight technocranes, three fixed length cranes, dollies and a multitude of sliders,

GripHQ has certainly come of age.

You may have seen one of the GripHQ fleet out and about - we’re pretty big on branding and we hope you like it. We’re proud of the fleet and the equipment they are used to transport, that we are lucky enough to represent here in New Zealand, so we put our name on it. If you see one of the trucks around, please make sure to come on over and say hi, we’d love to meet you.

But as much as we like our branding, rest assured we are in no hurry to rebrand the pieces of Dolly Shop, Love your Grip & Get a Grip kit that reflect the history and acknowledge the years of dedication to the industry (actually, its just that we can’t find the engraver). We hope it continues to tell the story of many, many amazing Grip departments over the years and continues to remind people of what crazy things can be achieved and built, if and when needed.

New Zealand’s largest supplier of grip equipment servicing the world’s entertainment industries • Full grip crew • Stabilised remote heads • 15’ - 75’ TechnoCrane’s • 4x4 All terrain crane bases • Chapman - Leonard dollies • Panther dollies • Motion control • Helicopter mounts • Slider’s • Generators • Rigging • Car mounts • Blue/green/black screens • Multiple vehicle options

Ph: 09 818 1981 • Mb: 021 443 958 www.griphq.nz • derek@griphq.nz

16 | NZTECHO Winter 2022

IN MEMORY OF

Paul Chattington

I first met Paul at Avalon, TVNZ, when he was transferred to the Film Sound Department.

He joined me on several training occasions recording news and current affairs items. That was in the early 1980s.

It wasn’t until much later that we met again, by which time he had left TV and was entering the world of the freelancer. I was well established in the Wellington film sound scene by this time, and whenever a production needed a 2nd unit recordist, or I needed someone to take over my position, I called Paul. He was friendly, jovial, a team player but most importantly, he listened. I could always rely on him to turn in a great sounding product.

He also found his niche in documentaries.

Became highly regarded by doco producers and directors. On those shows, a mutual respect is needed between cameraman and soundman. Paul always gained that respect and gave back as good as he got.

It was with OB sport crews however that he was most comfortable and confident. All major sporting events in New Zealand had Chats on site, and many overseas events such as the Americas Cup. He was a true professional who loved his craft.

A thoroughly good bloke, excellent sound man, loving husband and father.

Faded out much too soon.

Ken Saville Paul Chattington - Chatts - was a long serving and enormously well-liked and respected member of the Wellington, New Zealand and international film-making community.

After arriving from England as a child with his parents, Chatts grew up in Wainuiomata and secured a job at the new Avalon Studios as a school leaver. He worked in many departments - especially in lighting - as was normal at the time, before he and the sound department found each other.

Paul was something of a natural for the sound department. Although he maybe didn't even realise it himself, he had a great gift for listening and for picking up the details of any conversation or soundscape he was exposed to.

Maybe a childhood spent living with dyslexia, struggling at school even though he was a naturally bright and attentive boy, turned out to be his sound-recording superpower.

Paul worked consistently in drama, news and current affairs - he had stories about what went on behind the scenes at Telethon that will never be told - before the job began to take him all around the world. Paul travelled to Australia, the USA, the UK, France and most of Europe, Thailand and much of Asia. All the while, he delivered perfectly recorded dialogue

NZTECHO Winter 2022 | 17

and soundtracks every time. The skill and compassion he brought to this sensitive and detailed work were well known.

and Olympic Games - and then the Americas

For the drama department of TVNZ, Paul was entrusted with recording episodes of Marching Girls, Pioneer Women and most of the other premium local content of the time.

Chatts eventually spent his entire working

After TVNZ - back when that organisation decided that the way forward was to make its key crew redundant and re-hire them as contractors - Paul became a mainstay at Sky Sport. The work took him all over New Zealand - again - as he recorded international cricket and rugby, and then around the world for Football World Cups, the Commonwealth

together they became parents to Amy, Emma

Cup, from which Chats gathered even more brilliant yarns. life in film and sound. He travelled the world, met Judith - his first girlfriend, who would become his wife and life-time companion, and and Simon, and Grand Parents to Ryan, Indie and Piper.

Chatts was a true gentleman of the industry, a valued and trusted colleague and an absolutely lovely bloke. Go well.

GT

18 | NZTECHO Winter 2022

IN MEMORY OF

Paul Grinder

Grinder: facts and figures. I did a quick count off his CV and came up with 30 features and 350+ episodes of TV and that’s a HUGE presence to have in our industry – location manager, 3rd AD, 2nd AD, 1st AD, 2nd unit director, main unit director, associate producer, co-producer = AMAZING! He and I first worked together in 1995 on ‘Hercules -The Legendary Journeys’ and as part of Pacific Renaissance Pictures and this continued through ‘Xena-Warrior Princess’, ‘Boogeyman’, ’30 Days Of Night’ and ‘Spartacus’, which ended principal in 2012. The Grinder contribution to the Pacific Renaissance legacy is enormous, acknowledged and never forgotten.

clear fixup and, while often left of field, he was never wrong.

He thrived on being a problem solver – whether it was shuffling a schedule or stirring up the crowd in the Gladiatorial Arena with his cane – the head for cheers, the tail for boos.

He loved being a part of our industry.

But - Grinder was also Paul who is a son, a brother, an uncle, a friend and his service reminded that we all exist in several families and that, at the end of the day, we are about being loved.

Chloe Smith

As for his tangential contribution to my own roles – I always appreciated his conversational openers such as “I am about to state something egg-suckingly obvious” or “out of whack” or “above my pay grade” and then there was some strange looping metaphor about a turnip, a pig, a bowl of soup and a feature script that came in at 311 scenes …….

I first met Paul on the last season of Spartacus, but got to know him when he invited me to work on a pirate show in Cape Town. We became close friends during that 4 year stint and he became incredibly close with my family. He was considered the favourite uncle who spoiled my boys with birthday gifts, and embarrassed me with mother’s day presents for my wife.

The joy of Grinder was that the egg-suckingly obvious problem was always followed by a

To most of us Paul was considered the film maker with the crazy but brilliant ideas.

NZTECHO Winter 2022 | 19

He challenged us as film makers. There was always a new or better way, sometimes a more complicated and bloody stupid way, but more often than not, a way that was far more interesting. He taught us to think “how could this be better”. Just because we’d been doing it a certain way for years didn’t mean it was the right way. No, he invited us to look outside the box. This attitude certainly brushed off on me and many others, and made us better at what we do.

Paul was generous with his knowledge. He was always thinking of a way to keep training his AD team. In Cape Town when he set up the AD department he was adamant the juniors didn’t settle into one job. He wanted the AD’s to be always upskilling and encouraged those he trained to go outside their comfort zone and explore their abilities. It was a selfless act to make other people better at their jobs. The AD’s that trained under Paul Grinder will be some of the best out there.

Paul was a man of many interests. In Cape Town, not a weekend went by where Paul

wasn’t off to a music store. But not in a mall, where there was an abundance of security.

No, No, No. Paul found music stores in all the dodgy areas. One day I went with him to one of his favourite second hand record stores in a part of town where westerners weren’t overly welcomed. This didn’t bother him one bit. Up the busy streets and through market stalls he strode, bobbing away at 6’3” with his blazing white hair; head and shoulders above everyone. Heads were turning with every step.

His confidence was his security in this part of town. When we got to the record store he was welcomed like a long lost friend. He had a way of connecting with people from all walks of life. An understanding that was met with respect.

Paul had a huge amount of hobbies that would take him on crazy adventures. Hobbies from art, photography, travel, food, to music. And of course film. Most weekends he’d be off to a festival, or attending a carnival, or rifling through stacks of records in music stores only the brave would consider. He travelled to places most people have never even heard of.

20 | NZTECHO Winter 2022

Again Paul wasn’t looking for the norm with his hobbies, he was looking for a stimulation most of us didn’t know existed.

If you ever met Paul it was always very interesting, but if you got to know this quirky man your world was opened up just a little more.

Rest in peace Paul. You will be remembered as a pioneer in the NZ film industry, a thought provoker, an adventure for the arts, and an awesome buddy.

Edd Bennetto Paul Grinder was my classmate for five years from 1975, when we both attended St Pauls Collegiate School as boarders.

Paul and I shared a love of theatre and the arts. We were together in the school debating team and we participated in all the school productions of plays, musicals and other dramatised events.

Sometimes we performed together on stage, and always we shared various duties behind the scenes, such as prop-making; costume making; and set building.

One time we produced Eugene Ionesco’s “Rhinoceros”, for which I made a two-man papier maché rhinoceros suit. I wore the head and front legs and Paul wore the body and rear legs.

After we left school Paul and I attended university and flatted together in Auckland.

Paul became a regular contributor to the Auckland university student magazine, Craccum. Paul's “press pass” secured us some free passes to many memorable Tall Dwarves and other concerts.

After completing our degrees, Paul and I both worked for a time at Theatre Corporate in Cross Street - Paul was in the acting troupe and I designed theatre sets.

At this time the 1981 Springbok rugby tour took place. Typically, Paul was amongst the first to sign up to committed organised action to halt the tour.

Paul was one of the few dozen protestors who managed to invade the pitch at Hamilton which lead to the match being cancelled. It must have been terrifying for him to break through the police lines, then have to be protected by those same police from the increasingly angry and violent tour supporters in the stadium. Paul became one of John Minto’s co-leaders at all of the remaining 15 Springbok matches that year. He was the leader of ‘Blue Squad’ one of the front-line anti-tour activists. Paul was subjected to increasingly brutal Police riot squad actions. Despite being protected by cricket pads, a motorcycle helmet and home-made body armour, Paul was often injured and at least once had to attend the emergency ward for treatment to his wounds.

Paul was undaunted and attended every single match of the tour.

Alistair Kay

NZTECHO Winter 2022 | 21

VISIT

ScreenSafe.co.nz

Health and Safety for the Screen Industry

Helping create safe workplaces

22 | NZTECHO Winter 2022

REGIONAL WRAP

Take one – Auckland The leaves have fallen, and the days

(NZ Advertising Producers Group)

are short, and it’s time to hunker down

to update our wonderful Blue Book

for the colder months. The Auckland

guidelines which effect your base terms

industry seems to be humming along

and conditions of engagement with

nicely with lots of longform productions

productions, for example the fact you

in full swing, and a few more lining up

can charge travel time, late lunch penalty,

outside the door ready to kick off within the next twelve months. It’s a promising thing to drive around Auckland and see some of the construction/reconstruction of a few of the studio facilities, getting geared up for even more work. Covid has been particularly cruel to the commercial market however, and it seems to be taking a little longer to get back up off its knees.

TVCs have struggled to navigate its way through the ever-changing Covid restrictions and requirements in terms of health and safety, and navigating exposure risk along with crew replacement in the event of key

overtime, midnight loading or additional rates for working on public holidays.

Although some productions will vary their contracts with individual crew on a project-by-project basis the Blue Book as proved to be one of the most valuable assets in our toolkit and is referred to daily by hundreds of producers and crew alike.

It is the hard work of a very few volunteers in the Guild that have furnished you with the guidelines of employment that you enjoy, so I’d ask you to encourage any of your peers who

crew falling ill, but none the less we are

are not members to consider contributing

an adaptive bunch of people who think

to the conditions they also enjoy

nothing of looking outside the box for

charging for by becoming a member

innovative solutions.

of the Guild too.

The Screen Industry Guild has been

Sioux Macdonald, Guild vice president and

working alongside SPADA and NZAPG

executive committee member

Take two – Bay of Plenty How wonderful is has been to see

The Māori New Year, is a time to reflect

Matariki, the start of the Māori New Year,

on the past year, celebrate the present,

being celebrated across New Zealand. We

and plan for the year ahead.

have had some clear mornings which has made for easy star-gazing of the small

Our team, Jade, Tracy and Elysia,

pulsating collection of stars just above

have celebrated our first year being

the north eastern horizon.

responsible for all that encompasses.

NZTECHO Winter 2022 | 23

It has been an incredible journey of learning, discovery, connecting and creating. Covid presented some challenges but it also provided many opportunities, one being the advantage of our location in proximity to Auckland. By taking advantage of this we have seen a significant increase in inquiries. This increase into the Tauranga district has enabled them to allocate a dedicated film representative to focus on permitting requirements.

Debbie Currin is incredible and will go the extra mile to get what’s needed done.

Film Bay of Plenty workshops have started up again. It's exciting to all be physically present again. These workshops are there for us all to up-skill and to network with other keen screen industry crew. We are mapping out the year so join our mailing list or social media to be kept up to date with announcements.

We are going into our next financial year with more confidence, wisdom and direction.

Working collaboratively with our local Bay of Plenty screen community, Board members, the 10 RFONZ offices and local Government and stakeholders, we are showcasing just how important the screen sector is to New Zealand's economic development.

As stated in a recent document from the 10 RFONZ (Regional Film Offices of NZ) to MBIE and MCH on the review of government investment in the screen sector. "The screen sector is the flagbearer of a resilient cultural sector that, as Minister Carmel Sepuloni recently stated, brings excitement, comfort and joy in difficult times; it is the soul of Aotearoa, New Zealand. Additionally, the sector is a significant contributor to

Aotearoa’s economic activity and a generator of high-quality jobs for New Zealanders."

And the response from RFONZ Chair Jasmine Millet: "Scale is where the production world is headed. This is a historic time for the industry. Never in the history of film and TV has so much content been made and it’s not just the quantity it’s the quality of the content. I do believe this is the true golden age of storytelling and content creation.

This is only good news if we believe that: - the creative community can continue to come up with enough quality engaging content - we have the ability to execute to produce that content Lastly and by no means least we are excited to announce new Board members.

We give thanks and say goodbye to Paula Jones, who has been with Film Bay of Plenty since it’s inception. Paula has been a valuable asset to Film Bay of Plenty and has worked tirelessly to bring industry training through the Tohea program to fruition.

Our new Board members are Sharon Menzies – CEO Fulcrum Media, Kelly Martin – CEO South Pacific Pictures and Micah Winiata – Producer/Director. We look forward to what the new members bring to the table and what this means for the industry in the Bay. Ma tatou te kāinga nei e whakanui, e whakatuara i te ao kiriata nei.

Let's make our home the place to film.

Let's collaborate, increase capability and content, celebrate culture, and contribute to a growing industry here in the Bay and across New Zealand.

Jade Kent and all the crew at Film BOP

24 | NZTECHO Winter 2022

Take three – Wellington I think this second quarter of the year

crews. for projects that are either

is when we really felt the city and the

quoting, or definitely arriving in the

industry come back to life. There are

next few weeks.

several TVC shoots happening right

And, rumours of another very

now, as well as a couple of dramas, a few documentary shoots and also the apparently endless Avatar pick-ups still ongoing.

A late run of beautiful, calm and blueskied weather was a real bonus for shoots,

large announcement to come are as always - circulating.

Winter is never as busy as Spring and Summer. But, because of how disrupted the last two years have been, this still feels like a fairly decent time to be in

but by mid-June, even the most die-hard

Wellington. And the summer to come

Wellington fanatics had to admit that the

should see us back to a 2019 work-load.

winter had arrived.

Fingers crossed.

But still, we are taking calls at Crew

Keep your CV's up to date, and stay safe,

Wellington every day for locations and

GT and Crew Wellington

Take four – Christchurch Well, someone flicked a switch, and our sunny park location went from idyllic to mud pit. Welcome to Winter.

With snow on the mountains now those early morning starts seem tougher and tougher. But there’s plenty of work to keep the region warm.

Our regional incentive has landed feature docos, feature drama and a thriller of a tv series based on a Paul Cleave novel all to commence shooting here shortly.

Many thanks to outgoing head of Screen Canterbury NZ, Bree Loverich for getting the ball rolling here, and a big welcome to Petrina D’Rozario taking her place.

Commercials world hasn’t stopped to notice the weather change it seems with

most shoots needing sunny days and everyone fighting for the same dates.

Covid has played a large part in all of this forcing productions to aim for contingency plan D or E in some cases when crew or talent or locations become unavailable. But as ever, we adapt and produce the goods. A skill, I think, that runs thought out the industry.

Looking forward to seeing as many of the Christchurch crew at the midwinter social, but until then, stay safe and catch you on set.

Zac Beckett-Knight.

NZTECHO Winter 2022 | 25

Take five – Queenstown Winter has come and Queenstown is ready for the influx. Well, apart from no staff, no parking, too many stalled roadworks, and the increasingly paralysing cost of living. But the film biz has been constant since January with several TV shows being shot simultaneously. I had the privilege to work on both ‘Under the Vines’ (S2) and ‘One Lane Bridge’ (S3). It’s been great to see the proof that we can pull off multiple shoots at the same time. Everybody does know how to pool resources and communicate to make it work together.

‘Under the Vines’ was a delight to work on, from the locals smiling away as we took over Clyde, to the cast and crew relaxing in the shade from the Central Otago sunshine. A lot of the team had worked together last season and us newcomers had a lot of support to slot in and help make this a productive shoot. We had a little preview party and it looks gorgeous.

The Art and Lighting Depts have really hit the mark and this whole story has come to life again, even more beautifully.

It’s a great little light entertainment show where the cast have immersed themselves so completely. There were a couple of snags to untangle along the way but producers, Michelle Turner and Paul Yates were very approachable and ready to roll with the punches. Toby Mills stepped in on Locations again from season one and did a great job with the new locations as well as the established ones. Henry Youngman was absolutely at home in his on-set Locations role, and as is often the case, the Costume Dept were perfect playmates for all of us, both on and off set.

The production was ready for any Covid related contingency but we were lucky enough to have minimal impact from the disease. I think that was another benefit to being outside in the beautiful Central Otago air for six weeks.

To Mt Soho now, and the team on ‘Masterchef ‘ have told me that the producers were hugely impressed with the final product and the flexibility and talent of the local expertise. Queenstown was a star both as a location and as the provider of an experienced and knowledgeable crew.

Tourism NZ shot another ad throughout the country, culminating in an exquisitely moody Milford Sound moment.

Production manager, Jane McCurdy once again managed about 4 different roles along with co- ordinating private flights to swiftly move the creative team all over the countryside. This shoot is hopefully a pre-game that signals the return of commercials to the area. It will be interesting to see the commercial shoots coming back to Queenstown in what could be deemed a post TVC world.

A big clap of “Well Done Team!” to the ‘One Lane Bridge’ production and crew.

There were many huddles, emergency meetings, juggling/un-juggling and “ Right, we can make this work” affirmations as the shoot went by. Pip Hall had constant challenges from the beginning with story rewrites and cast changes, there was also Covid to test her ability to constantly re-create and in the end, a snowstorm to contend with.

Producers, Lisa Chatfield and Luke Robinson were there to make it all happen

26 | NZTECHO Winter 2022

and enabled a supportive culture from the

the loss of the big shows in the city. The

top down. There were a lot of returning

extended lockdown, and more people

local crew that know well the ebb and flow

now recovered from the virus, has left

of making this show in our challenging

a palpable Let’s-get-on-with-it vibe in

environment and they were constantly

the city. You did a good job though- it

able to bring the story to the camera.

The cast too always delivered- Dom and Phoebe, your constant humour and easy way of being was appreciated by everyone, every day on set.

Lastly, Covid fatigue is real. I swung a truck to Auckland in May and noticed the lack of mask wearing in the supercity compared to the southern cities.

Auckland bore the brunt of last year’s lockdown. Our Covid response, our economy and our geography attributed to

bought us time and allowed us a less volatile strain of Covid 19 to learn to live with. Auckland is a resilient town with a huge amount of talented crew and infrastructure to make the next opportunities work.

Anyway, I will wrap up this wrap on the last day of my self isolation. Yep, I tested Covid positive last week. Good timing really though, I’m ready for action.

Kim Godby

Take six – Dunedin Winter has dawned its frosty tips on our

hearts, as they secure funding this quarter.

windscreens and driveways but that does

Writer / Director David Hay received

not mean filmmaking has been given the

NZFC early development funding for

cold shoulder. Far from it!

his upcoming feature The High Road.

Breaking the ice earlier this month were

Writer / Director Glenn Standring’s

three TVC’s & two Music Videos.

We also had two short films near completion of post-production (Millie Cossou & Jacinta Compton’s The Lamb, The Girl and The Man and Legal Fictions Canvass) while another local short continues to gain international success as it hits the festivals (Rebecca Tansley and Sue Marshall’s The Finding). We toast (marshmallows) to their continued success.

A couple more local content creators may have cold hands but no doubt warm

feature Babylon was one of the nine projects selected for Te Puna Kairangi (Premium Production Funding). For those of you who think it’d be when hell freezes over before you see any financial assistance, put that thought on

NZTECHO Winter 2022 | 27

to leave behind their Post Production facilities fully operational at Melville Street. DCC’s film coordinator Antony Deaker slips into a new role at the Council as interviews take place for his replacement. Break a leg to whoever gets the job!

We were snowed under with several Screen workshops in town. Big thanks to ice and be encouraged by the efforts of

Dale Corlett, Ness Patea, Ruth Korver, Dan

two additional content creators in town

Eady and others for their contributions

effectively raising their own international

towards these. It is but the tip of the

investments for future projects. Bundle

iceberg as we hear of future workshops

up and watch this space for more on that.

being lined up for the 2nd half of the year.

Let us not leave FOS and DCC out in

Yes indeedee, all of this has a snowball

the cold as we give gratitude for their continued support to filmmakers with opportunities of on the ground upskill work placements, script consulters and assistance for Event premiere attendance.

Out with the (c)old and in with the new for NHNZ Worldwide team who will be snug as a bug in a rug in their new premises in Stuart Street. The frosting on the cake in that they have chosen

NEW MEMBERS

effect for more discussions around Studio Facilities and Production spaces especially no doubt as we see a Domestic Feature and International TV series coming to the Region at the same time in the season ahead.

Alright already, the incessant overuse of winter idioms must be (ice) capped.. it’s time for my chill pill….

Rebecca Rowe

Join us in giving our new members a warm welcome!

Zoe Crook: Auckland Production

Bob Buck: Wellington Costume

Christopher Stratton: Auckland Art

Nigel Gordon-Crosby: Wellington Sound

Ross McKay: Auckland VFX

Lachlan Crane: Wellington Sound

Aaron Levi: Auckland Art Sean Rundle: Auckland Camera

Adam Martin: Queenstown Sound

Sophie Musgrove: Auckland AD

Matthew Stott: Queenstown FX

Tom Davis: Auckland Grips Lisa Prestt: Auckland AD Simon Bevington: Auckland Art

28 | NZTECHO Winter 2022

NEWBIE PROFILE Lisa Presst has joined the Guild. Welcome!

What led to you joining the film industry?

I travelled extensively during my childhood, which nurtured my sense of adventure and imagination. I love getting lost in new stories, places, cultures and lives which are different to my own, whether on the street of a new country, a TV screen or in the pages of a book. My enjoyment of stories and how they are shared eventually led me to behind the scene videos and blooper reels of the films I adored. The whole environment fascinated me, and looked like a lot of fun! I just wanted to be part of it.

Why have you decided to join the Guild now?

In an industry full of so many creative people and ambitious ideas, I think we need some structure to ground ourselves. I believe the Guild is helping to create this and steer the industry in a more positive direction, which will benefit everyone.

What do you hope to achieve in the industry - what is your dream gig?

well is deep and there are so many fascinating cultures out there to explore and learn about.

a 1st AD is the goal. As for the dream gig, that's

What work were you doing before film? What does this earlier experience contribute to the way you work now?

hard to say, my imagination is endless! To first a

On a whim, I went straight from school to

fantasy or sci-fi project would be thrilling, as they

studying Film & TV at university (much to my

are my favorite genres, but I also love the idea of

parents surprise), and then worked my way into

travelling overseas to work in Europe. Overall I

the industry. I took countless part time jobs to

enjoy any job with great ideas, creative people

support my journey, from stacking freezers to

and a good cup of coffee!

coaching tennis and selling limoncello. It took

I love working as an AD and thrive being in the midst of it, talking and working with every department and facing new challenges, so being

What would you like to see changed or improved in the NZ industry?

years of perseverance for me to get my first 3rd AD position, and that makes me appreciate every opportunity even more. The hard yards gave

I'd like to see more culturally diverse stories to be

me a thick skin and the determination to

told in NZ. It's great to see more amazing stories

succeed, making me very focused and

from diverse backgrounds being created, but the

dedicated to my craft.

NZTECHO Winter 2022 | 29

We’ve Got You Covered.

EXECUTIVE OFFICERS LARGE

FORMAT

LENSES

THE ONLY CHOICE FOR UNLIMITED CHOICES

President Brendon Durey Vice president Sioux Macdonald 021 969 609 Auckland chair Nick Treacy 021 280 8950 Wellington chair Adrian (Wookie) Hebron 0274 437 028 Christchurch chair Zac Beckett-Knight Queenstown chair Wayne Allen 0274 451 113 Treasurer Tyrone Payne

www.panavision.asia

For full committee listing and contact details please email: info@screenguild.co.nz PANAVISION AUSTRALIAN CINEMATOGRAPHER

Panavision · Definition Magazine

SCREEN INDUSTRY GUILD AOTEAROA NEW ZEALAND OFFICE Kelly Lucas, executive officer Jane Scott, accounts officer

CREW REPS Remember to organise a crew rep on your next production. A crew rep, preferably someone who is familiar with The Blue Book, is the most efficient way to keep the lines of communication open between the producer and the crew.

Tel: 09 8899522 PO Box 68-294, Wellesley Street, Auckland 1145 info@screenguild.co.nz editor@screenguild.co.nz accounts@screenguild.co.nz www.screenguild.co.nz facebook.com/NZFVTG Screen Industry Guild office hours Monday to Friday, 9am to 3.30pm Outside these hours, please leave a phone message or email us.

WINTER IS HERE

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