NZTECHO Spring 2022

The skinny on FAT Lighting

Our man inOtaki writes

Farewell Ardy Matthews and Brian Shennan

The Screen Industry Guild Aotearoa New Zealand quarterly

EDITORIAL

•Sound Techniques has had a fantastic 30 years supporting location Screen Sound here in Aotearoa, New Zealand.

•However, and with great regret, Sound Techniques is closing down, due to the ill health of its Managing Director, Stephen Buckland.

•It s been a great privilege to work with you all.

•Thank you to our clients, supporters, friends and suppliers.

•At time of publication efforts to finalise the continued support of the brands we have represented is proceeding.

•We wish the Screen Industry Guild members and the wider industry good health and happiness for the future.

•Keep on growing the screen sector.

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. We can help in the following areas; Safety supervisors, on set medics, hazard identification & mitigation, WorkSafe NZ compliance, marine coordination, water safety, and divers for underwater support.

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. Contact us if you have any questions regarding your next project.

Willy Heatley +64 27 451 6002 willy@guard.co.nz • www.guard.co.nz

Hi all, And welcome to issue #94 of NZTECHO.

We are running the second installment our hopefully long running series of notable local film businesses in this issue, with a proper look at the legendary FAT Lighting. They were good enough to supply us with a load of photographs too. Thank you!

If you would like to see a feature on your company in NZTECHO, don't be afraid to drop us a line.

This issue also contains the latest safety advice from the New Zealand Standards Authority on safe practice on film sets, a reflective piece - and some gorgeous photography - from our own Waka Attewell, and an important piece of news from the Guild, which you may have missed in email form.

We are also running our own farewells to Brian Shennan and Ardy Matthews, both of whom have left us in the last few months. Both men were well loved and respected in the Wellington and wider New Zealand film communities and both are sadly missed. Thank you so much to everyone who has contributed to these pieces.

We also pay our respects to the colleagues, friends and family of Rob Outterside and Dave Cleary, who also passed away in the last few months.

The next issue of NZTECHO will be out in time for the new year, which will mean a shorter turnaround than usual. So, please start thinking about your contributions now.

All best, Stay safe out there, Graeme and Jason.

CONTENTS

GUILD NEWS & VIEWS

2 Behind the scenes Kelly Lucas

3 President’s rave Brendon Durey

INDUSTRY

5 Twenty years of FAT lighting - industry spotlight.

10 Darkness Falls. From Waka Attewell.

TECHOSPHERE

14 In memory of Brian Shennan.

16 In memory of Ardy Matthews.

18 Regional wrap

26 Electrical standards

28 UPDATE: Screen Industry Workers Act 2022

ISSUE 94 SPRING 2022

Editor Graeme Tuckett

Publisher/advertising

Kelly Lucas

Design Jason Bowden / Anim8a Ltd

Printing

Pressprint Ltd

Contributors

Graeme Tuckett

Laura Matthews

Desray Armstrong

Jane Ross

Ivars Berzins

Tracey Cochrane

Adrian Hebron

Waka Attewell

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) www.screenguild.co.nz

GOLD STARS & CHOCOLATE FISH

N Brendon, Sioux, Kelly, Jane, Christian, Sally, Wayne, Zac and Tyrone, and everyone else who contributes and keeps the Screen Industry Guild running for all of us.

Cover photo: supplied by Zac Beckett-Knight. SPECIALIST

BEHIND

THE SCENES

Executive Officer Kelly Lucas

Finally, we have arrived at the end of the Traffic Light System! Yay!

Even though COVID is still present in our lives, hopefully, we will continue to see a decline in numbers, and with the sun starting to shine, our summer will be a little more 'normal' than we have seen for a while. We still need to be vigilant about our health, and please do not head to work if you are feeling unwell. Some productions will continue to utilise some measures, but looking out for each other will be essential.

We are also partnering with Miranda Rivers, SPADA and with the support of WIFT and Equity to highlight mental health in the sector. Miranda is organising three screenings of "The Show Must Go On" by Ben Steele. Ben will travel from Australia to join in a Q&A regarding the film and discuss his mental health journey. The film will be screened in Christchurch in late October and Wellington and Auckland in early November. This screening will be free to everyone in the screen industry, so please ensure you secure your tickets when they become available. We will share more details soon. The Mental Health conversation needs to be brought to the table and addressed; this is a great way to start the conversation.

We held our AGM last week, and I would like to thank Brendon Durey, Sioux Ferguson, and Tyrone Payne for continuing their support as President, Vice President, and Treasurer of the Guild. A big thank you to the Executive committee for volunteering their time and making the hard decisions on where and what the Guild needs to do to continue to support its members. And to the branch committee members who have up put their hands. We welcome back Christian Gower as Chair

for Auckland, Zac Beckett-Knight as Chair for Christchurch, and Wayne Allen for Queenstown, and thank Sally Cunningham for putting up her hand for Wellington Chair. A big thank you to Adrian (Wookie) Hebron, for all of his support as Wellington Chair over the years. Wookie is staying on the Executive committee. Please bring us your ideas so we can ensure we deliver what you need.

The Rate Card project is still working its way through its process. See Brendon's –President Rave for more information.

The Screen Industry Workers Act has passed. We will release some information and hold workshops on what that means for all crew. I encourage all of our members to familiarise themselves with this information to make sure they are informed.

The Online Bullying and Harassment Prevention module will be available on the ScreenSafe website next month – we encourage all crew to take the time to sit the module and become aware of what bullying and all forms of harassment are. In early November, we will host the next Professional Respect Training workshop in Christchurch.

Our website is going through a significant overall, so watch this space – this will be live before Christmas.

I want to also send my heartfelt thoughts to Stephen Buckland, who has been an incredible supporter of the Guild and the NZTECHO magazine for the last 30 years. Stephen will be closing Sound Techniques due to ill health. I want to recognise his contribution to the industry and say a massive thank you from all of us past and present here at the Guild. Aroha Nui.

Ngā mihi nui, Kelly.

Now that the spectre of the pandemic seems like it’s (hopefully) in the rear mirror for the foreseeable future, we can almost take breath and start to focus on other things and perhaps with a longerterm view look more to the future and at things we can do to better ourselves and our industry.

One such endeavour that the Screen Industry Guild has taken on that I want to focus on is the Rate Card “Guidelines” project that was initiated a couple of years ago and is now just reaching fruition of its initial scope of work. This project came out a desire to have a more transparent, accessible, and unified Screen Industry rate setup in NZ, initially Looking at the example of BECTU in the UK. I had spent years watching Screen Industry rate across many departments not keep up with even our previous low inflation rate, sometime flatlining for several years then having a jump to try to catchup to the great displeasure of producers who are trying to budget as tightly as they can.

The key is to initially focus on real and accurate data collection of the rates so we can see them clearly for what they are, compare them across departments and also track them over time in relation to inflation. Its only by having this accurate data over time will we have the tools to have conversations about parity, maintaining our standard of living, and keeping this an industry that is an attractive career option for people in the future.

It seems to me having accessible and transparent rate guidelines can help both crew and producers by having more stable rates over time and being able to have honest discussions about

where a crew member sits in within the rates matrix. We need to have the ability to track rates against inflation to gradually adjust over time and have both NZ and offshore projects more likely start with an ability to fund the crew at appropriate levels.

At its simplest, the overall crew rates are the aggregation of thousands of individual rates negotiations that happen in every project, every year that all add up to the overall rates crew are paid. Thousands of little hands of poker being played by crew and productions that don’t need to be clouded in uncertainty and mystery. And this is the coal face where rates still need to be set in these negotiations and the need to be real, and with better data they can come more often to fair and equitable solutions.

By tracking rates overtime, have accessible comparisons of where they should move each year adjusted for inflation and having the bright light of transparency over the whole paradigm, we can hopefully have a future where screen industry rates can increase in an orderly fashion matching the rising costs we face, crew can maintain their standard of living over time and productions can have better data to more valid and accurate budgeting. Getting this started, and getting the first set of data, and ensuring that data is a correct as possible is initially the hardest challenge. After that we need to revisit and collect the data every couple of years to be able to track and chart crew rates in NZ. Only then over time can we use this information to ask and answer the important questions about, fairness, parity and value.

Brendon Durey.

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

Guild President Brendon Durey

PRESIDENT’S RAVE

We appreciate the support of:

Mick

TECHOSPHERE

Twenty Years of FAT Lighting

•

• Picture vehicle coordinating

• Multiple Tracking vehicles and low loaders

• Certified pilot vehicle and drivers

• Picture vehicle transporters

• Vehicle wrangling

• Picture Vehicle fabrication

• We are the North Islands go to for anything vehicle related

A conversation at a school yard back in 2000 was the beginning. Two families launched FAT Lighting with one truck, a suite of gear and some of the industry’s leading gaffers. Fast forward 20 years and FAT has expanded its fleet of vehicles with everything from 20 tonne trucks to vans and Utes, trailers and generators. Known for having a solid foundation of tried and tested lights, rigging, and power

distribution, as well as a rapidly increasing selection of the latest technologically advanced lights. FAT works with small to large scale local and international productions from TV and Film, to events and shows – whatever the job, they’ll do it, and they are committed to providing a service that is second to none.

Tracey Cochrane and Matt Suttle head up the FAT warehouse at 7/489 Rosebank

Wayne (Westy) Subritzky // 021 134 9209 // nzcameracars@xtra.co.nz // www.nzcameracars.co.nz

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

Road, Avondale in Auckland. Tracey is a self-made businesswoman that has been with FAT since its inception. Coming from a background in financial corporate and business advisory, she uses her expertise to back FAT and grow the business.

The technical-whiz Matt, who many will know as a strong communicator, heads up operations in the warehouse. Matt has been working in the industry since he was 16 years old and recently moved from the United Kingdom where he was a project manager at one of the world’s largest independent lighting rental companies, working on large-scale productions with globally renowned artists and feature films. He has also managed a large

generator company servicing the events and film industries.

Matt loves to share his passion for all things lighting to help newcomers in the industry and is always keen to jump on a job to learn alongside gaffers so they can continue to build the FAT inventory and develop a vision for the industry’s upcoming needs. Matt believes that “to stay relevant, we have to understand the people we support, we have to understand the industry’s needs and the way it operates.

“We support both established gaffers and newcomers to arm them with the tools and knowledge they need to get ahead.

The screen industry is a tight-knit family and at FAT we want to see Kiwi talent

succeed. Fostering relationships, learning from, and collaborating with other likeminded people and businesses is crucial - like our next-door neighbours at Craft Services,” said Matt.

As the New Zealand film industry recovers from the impact of COVID restrictions, FAT continues to ramp up its inventory and services to cater to productions of all scales across New Zealand and the Pacific Islands.

“The New Zealand screen industry is busier than it has ever been before and we’re attracting more overseas large-scale productions and streaming services like Amazon and Netflix, who are choosing to film in New Zealand. This is all possible thanks to the hard-working, passionate, and driven Kiwis who are both onset and behind the scenes, investing in equipment, creating studios, and continuing to evolve and grow our local creative industry,” said Tracey.

“At FAT, we’re doing our part by making sure we have a wide range of the latest and most advanced equipment available, and being contactable 24/7 to help book, get the gear on the job, and provide technical support while you are working. What we do a bit differently is that we also supply vehicles for gaffers and production

companies to hire, kit out and use – and if you are unable to get to our warehouse, we’ll deliver,” said Matt.

The local screen industry is going from strength to strength and FAT is excited by it. “The demands from international feature films have helped FAT to invest in the latest technology, which once added to the inventory can help benefit more local productions and gaffers by providing equipment at affordable price points,” said Tracey.

Some of the gear FAT are currently excited to have on offer are New Zealand’s widest range of Astera products in large quantities; Creamsource Vortex units, which are the next generation of LED soft lights; the Aputure range; and the Fiilex range – Cinegear award winners, offering high quality LED Fresnel’s with an extremely high Colour Rendering Index (CRI). They are also sales agents for a selection of specialist lights and equipment,

including the Fiilex range of LED fixtures and Androokie Magnet sets, which allow quick and easy rigging for LED tubes and fixtures.

So, what’s next for FAT?

On top of the ever-growing and evolving inventory, FAT has started hosting

industry events to help show the latest technology and fixtures, as well as workshops for industry talent. An Astera open day showcased their range and gave people the opportunity to try out the products and learn more about its technical capabilities. More recently, the Women in Film and Television Demystifying Lighting workshop helped answer questions about lighting and grip equipment. Q&A’s are a big part of solution finding and the FAT team always has time for knowledge sharing.

Further, the journey towards becoming more sustainable as a business and an industry is top of mind.

“I love that the industry is looking for and supporting more sustainable solutions. It is great to see the larger projects completing sustainability reports and

monitoring how equipment is impacting the environment so they can improve it to be kinder to Earth,” said Tracey.

“At FAT, we’re continuing to look at more ways we can do our part for the planet. From choosing LED technology that has lower power consumption and less waste due to longer lifespans, to power generators with lower emissions – we’re keeping a keen eye on what new, more sustainable technology is coming out,” added Matt.

If you’re interested in checking our FAT’s full range of lights, equipment, and vehicles, testing out the gear, chatting about an upcoming job, or just to have a yarn, be sure to visit www.fatlighting. co.nz or give them a call. You can also check out the FAT Instagram at @fat_ lighting where they’re sharing the latest

gear as it rolls in the door.

“Twenty years on, and we still consider ourselves to be a small family business. We pride ourselves on providing good service, and if we say we are going to deliver - we will! We consider ourselves fortunate to be working alongside the incredibly talented and supportive people who make the New Zealand film industry what it is,” said Tracey.

Darkness Falls

By Waka Attewell

Perhaps we started in this business because we saw an escape from our ordinary lives - a bit of star dust and magic …and then, soon to discover, an industry driven by enormous-pressure-stress and long hours and then we’re looking at a new addictive need in our lives where stress-pressure and lack of sleep becomes the new normal – these pressures are now exacerbated by a flood of low budget and high end productions seducing our collective production capabilities.

When I was a kid the movies up on the screen were all about a bit of face-slap and ‘frankly, I don’t give damn’ and lots of dancing and singing; the cowboys ruled the range and the Red-Injuns died

so a nation could be built. Westward Ho and circle those wagons – slaughter – we yelled and cheered. Hollywood celebrated this heart-wrenching-violent world with themes of fantasy, with Pirates, Knights and Castles by adding the music and unforgettable tropes steeped in optimism and hope and life, death and love and we bought into it with our affection and longing for more – one week I would go to bed with a toy six-gun and the next with a broken branch as I imagined a pirate sword - through our childish gaze we gave the cultural misappropriation of the Hollywood story little thought.

Just a handful of us in the corner of nowhere – aspired to be like they were

over where real movies were being made, at Pacific Films we dog-eared every new edition of the American Cinematographer magazine within a day of its arriving. We yearned over that distant land where the dream factory was, and we copied stuff from the production stills into our work and dressed like the crews in the articles. We spoke constantly about how it was done in Hollywood and we swooned over the latest from Pinewood and Shepperton.

We set the traps like any good cargo-cult could as the more ‘business’ savvy lobbied government for tax breaks as we workers looked after the ‘art’ end of it by put on our best yes-we-can-do-the-work-faces and they came.

Today those Hollywood studios are outdoing each other in a worldwide search for the ‘eye-balls’ across cinema and streaming services and it’s now on us to perform and deliver so they stay – bigger, better… more real, hyper-real –CGI real – details like we’ve never seen – its ruthless-brutal …and I’m bloody addicted to it; I’m addicted to watching it and working in it – it’s a singular thing that can consume who you are, and we affectionately call it ‘the’ business’ and it’s a world of continuous-ongoingsustained employment for the anointed.

It’s a business that constantly struggles with the art vs commerce question - the 90’s film business of international copro’s burnt out prolific nz producer Murray Newey, I reckon it crushed his will.

He struggled with the definition of ‘what success should look like’ which ended with an empty fridge, no food in the cupboards and a massive unpaid

bill at the local store, he couldn’t see the temporary nature of the down turn, he thought it was his failure? We thought we were helping but we failed.

We talk about this thing after the event in a way where the platitudes are even more annoying than the brutal facts. No matter which way you wrestle with this tragedy being a witness to a death has one obvious conclusion. It is permanent. And with a suicide you never know why.

Yet every time this happens, we promise each other that we’ll do better next time. Murray disguised his anguish with his towering strength and enthusiasm. His unshakable positive outlook… we didn’t suspect a thing.

We’ve actually done pretty well with our internal systems of mates calling mates and second guessing with a well-timed phone call. But. It’s that place so dark that sometimes the light has nowhere to be that we don’t understand, it has no real and immediate name nor does it give even a glimmer of hope, it is despair so deep that death is a preferred option.

We must find a way to talk about this, we’ve got to find a way – let’s face it this ‘business’ has its downside; suffering under the weight of the hierarchy of power that comes with large investments of other people’s money; flavour of the month and then you find yourself on the outer… then there’s that brutality of freelance - waiting for that f..king phone to ring! Small cog or big cog, fitting in, unwinding, having a few at the end of the day – living from invoice to invoice – feast or famine.

It’s the back end of those big jobs that consume a city, some jobs last for years… and then they’re gone, and then there is nothing; the self-doubt arrives and the same time the bills start piling up.

Starting every day with a hangover on an ongoing gig that is stretched out to years… never getting close to clocking up enough sleep. Admitting that you fell asleep at the lights on the way home… but only for a second, it was, really, only a second - it’ll be ok, you say as you tell yourself a new version of that half-truth. And meanwhile it’s the sleep deprivation that will eventually drive you to the edge.

At first the ways that you modify ‘who you are’ are subtle, conforming to the hierarchy is part of that, tribal behaviour and the odd bit of bullying isn’t out of the ordinary, being seen to be ‘more employable’ than the next person… agreeing to those little bits of bad behaviour by looking away is just the beginning of becoming someone else.

If ever there was an industry that needed a ‘watch list’ we are the one… but the approach is ‘don’t talk about it’ – this attitude must change – we can make it change!

I have a couple of friends; they are now on the edge of the business (aging will do that) we talk most days. They are now on the edge of the world… on the edge of that drop - I know if I didn’t call, I would lose somebody… somethings just have to be done – while you’re sitting in that traffic jam, how about hitting the call button…

Recently a colleague uploaded a showreel to Facebook - all new work; all offshore studios, all shot here. Damn - haven’t we got really good at this film and TV business! We’re good at the worldliness of it where there’s definitely a hankering for handguns, fist fights, wire rigs - swordsdripping blood – big soundtracks, big stunts - slo-mo explosive-car wrecks and a sprinkling of sex.

I’m watching the showreel in awe and I’m exhausted before the 3mins is up. This is high standards and high production value and we’re up for it. Yet a few weeks later is the disappointment of a cancelled 2nd season… scores of people instantly out of work and looking at an empty year.

Vicariously the ‘business’ dangles the ideal of fame and fortune as you gaze out over the opulence. “This could be

me?” You think, perhaps there might be a private jet in your life one day? A better car? But for the moment respect from others, being relied upon to be good, and in return you are loyal to the production, and get really good at your job.

And then the idea that you turn up and are appreciated and relied upon to do a great job is part of the addiction to the ‘business’ – it gets you up in the morning when you’re exhausted.

When it all comes crashing down, that team you were part of has a new gal, the guys in the pre-rig crew don’t ask you out for beers. It’s easier not to employ than it is to sort ‘the thing’ out.

The crushing truth that we’re a hiring and firing biz and you’re next. Sometimes it feels like there’s no way back and it’s even harder to find that person you once were. Our film and TV culture has shifted to a new place…it’s fast and furious and brutal and immediate; move-fast-and-break-

things world of big money and big talk and wealth coming out of its ears and the responsibility and pressures on the shooting crews are enormous.

There’s a table at the end of the room; slightly raised, on it is a feast – white cloth and silver service – slightly out of our reach, yet the promise is that one day there will be a seat for us. Yet to survive such promises there has to be a life beyond this ‘business’, another world beyond the dream factory and another world dealing with the real things.

When you’ve rowed out beyond the breakers and land is not in sight you have to get yourself back, find the hole in the hedge that leads you back to your own yard – reach out and the hands will be there to grab you and pull you back I know they are.

When hopes and dreams wither it doesn’t make a sound; a dream dies in silence and alone. We still don’t talk about this enough, let’s talk about it more.

IN MEMORY OF Brian Shennan

Born and raised in Whanganui, Brian Shennan died in Masterton in August 2022.

In 1964 he began a BA at Victoria University. But he spied a newspaper advert for a sound trainee at the National Film Unit. "I had a tape recorder, so I went along to an interview. It turned out that the Sound Director was an amateur radio operator, as was my father, and he knew my father. My father’s cousin was also the lab manager. I got the job out of the 50 people who applied.”

The NFU offered Shennan his first big break, training alongside Kit Rollings in the unit's Wellington studios. Shennan learnt how to record sound on location, as well as mix the final soundtrack. In the mid 60s the film unit was contracted by the NZ Broadcasting Corporation to supply up to five crews a day to handle the sound on various TV shows, including Compass and Town and Around (see photos). "During my time at the NFU I worked on the very first Country Calendar and the very first Fair Go. I climbed up Mt Kaukau TV tower when it was being built in 1965, and we filmed from there. That was 400-feet-high. We had no safety equipment and I had a tripod on my back, as well as my sound gear. My legs were shaking when I got to the bottom."

On 10 April 1968, Shennan was one of the crew deployed by the NFU to report on the Wahine disaster. "I was there on Seatoun Beach as the survivors came in on the lifeboats. Gary Cunningham and I worked as a team with reporter Keith Aberdein for NZBC News ... It was a horrific scene with children crying looking for their parents, and parents searching for their kids. The initial wind speeds reached over 100 miles per hour. One of the other cameraman came across a woman up in Kingston Heights clinging desperately to a power pole, screaming. He got downwind of her, opened his front passenger window, grabbed her legs and pulled her to safety into the car. The untold stories of that day were many."

This Is New Zealand (1970), one of the NFU's most high profile films, saw Shennan contribute as both crew and talent. Under the direction of Claude Wickstead, Shennan worked with Kit Rollings and Noel Sheridan recording sound on location. He also donned a white lab

coat to depict an agricultural scientist in the field. When the film was rereleased in cinemas in 2021, Shennan contributed to speeches about it in cinemas. He was known by his colleagues as a kind and generous man who was very happy to share knowledge.

Shennan continued to work with the sound department at the NFU on projects big and small, including Games 74, a feature documentary that chronicled the 1974 Commonwealth Games in Christchurch.

Veteran sound mixer Don Reynolds recalls that from 1974, Shennan took over the majority of

the NFU's mixing. He also notes that Shennan was well respected for his knowledge and technical skills. "When the NFU moved from Miramar to the new building at Avalon, Brian was very involved in the design and equipping of the new mixing theatre, and was the chief mixer there. Brian and I mixed a large number of projects together, and we were both able to contribute equally. We worked as a great team."

The feature films that Shennan and Reynolds mixed together include acclaimed drama Smash Palace (1981) and Geoff Murphy epic Utu (1983). Don recalls the mixing process with fondness. "I was very proud of the Utu mix, and I know that Geoff was very pleased with what Brian and I achieved."

One condition of receiving funding for Smash Palace was that it had to be completed in a short time frame so it could play at the 1981 Cannes Film Festival. Shennan was known to mix features at record speed. "I think the first that I mixed on my own was Geoff Murphy's Wild Man. I went on to mix Angel Mine, which was a bit different. It was quite controversial as there was a bit of nudity in it. I mixed that film in 12 hours — the whole feature. This was all before computers, so I had to memorise mixes. I got quite good at it." In this period, normally working from the NFU's sound desk, Shennan was the sole mixer for many acclaimed features, including documentary Patu! (1983), Vigil (1984) and Ngāti (1987).

With Death Warmed Up (1984), Shennan became the first Kiwi to mix a Dolby Stereo soundtrack for a feature film. His work with David Newton on the Dolby mix for NFU short Logger Rhythms the same year was so effective, Dolby's London branch used the film in their demonstration reel.

From 1996, Shennan began to work closely with cameraman Ivars Berzins. Says Berzins: "We started working together regularly as a camera and sound team when I first went freelancing. We worked together solidly for the next 10 years. During this time we did many documentaries, corporates, travel shows, and TV shows. Some of the ones I remember are Asia Downunder, Tagata Pasifika, Marae, Waka Huia, Out Of The Shadows, Inside Out, For

Art's Sake, Ken Douglas: Traitor or Visionary and The $20 Challenge."

"I chose Brian as my regular sound recordist because I knew him from my NFU days, where he was known as a hugely experienced sound mixer and field recordist. He was a calm, practical people person who had a quiet and nice way with people. His demeanour fitted in well with the way I like to work, where the aim is to make the person in front of the camera feel at ease. This was a lot more tricky in the days before small and light cameras, as there was often lots of gear to set up, including big lights. People sometimes got nervous and Brian would often lend a quiet ear to calm the nerves."

"Brian's role on our reality travel show The $20 Challenge (see photo) was in putting together a rock solid radio mic system for the newly minted one-person crews — where the camera operator started becoming the sound recordist as well; common practice these days, but not back in 1998. That's why Brian had such a long career. He wasn't afraid of new technology — he embraced it."

In 1999 Shennan was the sound recordist for the award-winning My Name Is Jane, which he considered to be "my best documentary". Watching it again two decades later, Shennan remarked that he felt it was a privilege to know Jane Devine, and be involved with her in her last days and weeks. "We all loved her."

The Great Maiden's Blush (2015) and Mo Te Iwi: Carving For The People (2019) were two of the last feature projects that Shennan worked on. He continued sound recording and sound mixing for television, including on TAB Trackside and Sensing Murder.

Shennan considered himself to be a lucky man to do a job that he loved. "It's been a really interesting life. I've been places and done things that most people would never get to do. I've been shot at, attacked by a shark, climbed extremely high cliffs with no safety equipment. I'm very grateful."

Thank you to New Zealand On Screen and Ivars Berzins.

Republished with permission from website NZ On Screen

IN MEMORY OF Ardy Matthews

This is the first proper film role on our Dads CV.

Starting out as a swing driver ('The Big Bertha days) Dad quickly gained recognition and was invited to interview for a full time role. I remember the day clearly, while dad went to Stone Street; Miramar, my Mum, sisters and I waited in anticipation. From that day on, Dad's absolute love, dedication and enthusiasm for the film industry grew exponentially.

His Film career spanned 23 years (1999 to 2022) and with almost 55 shoots of various kinds under his belt, The industry never failed to bring a level of excitement to his life that was genuinely contagious.

Since his passing, one of the common themes of conversation has been how much success he had and enjoyment he got in making connections with people from all walks of life. Being a filmo genuinely complimented that part of him.

Film Colleagues quickly became mates and soon after, those mates were otherwise known as our extended family. Many of you now form part of our round-table jokes, celebrations and family tales.

With bonds formed and trust earnt, Dad then trusted his film family with his home life family. Our Mum (the late Carol Matthews) and all three of his children/us (Kelly, Jenna and Laura: a.k.a his sons!) were fortunate to work alongside him on feature films. He would comment that to have each of our names appear next to his on the credits of one job or another, was an absolute career highlight for him.

But, even though he was a Transport captain, it didn't matter to Dad where you came from or where you were going, it did matter though how you made people feel - and for Dad, he always wanted to help make your life that little bit easier... that little bit 'more'; It was the well-placed cables to stop you tripping, Him arriving to set that just that little bit earlier to put all the heaters on so the makeup or costume crew were warm, getting repairs on your personal car done while you were on set, making sure you had a safe way home after the friday-fives draw or setting up A-listers with true Kiwi experiences on the back of his Harley - If he could do it, he would, Happily. It made him nervous to think he might let someone down or bugger it up. So much so that the night before his first day of preproduction, and the night for Day-1 Shoot for every film job he worked on, he couldn't sleep. He simply wanted to do a good job and not let the people down that had founded the life he loved living.

Laura

Ardy often used to cheerily say “every day above ground is a good day”.  When I heard the devastating news of his unexpected passing in Fiji on 2 September, to say it was not a good day is an absolute understatement.

I don’t remember exactly when I met Ardy but I do remember his hearty laugh, Akubra hat and gentle enquiry instantly put me at ease and made it feel like I had known him for years.  He quickly became a treasured friend.  I would later learn he was incredibly loyal, someone who would look out for you and be there at the drop of an Akubra hat if you ever needed.   On set, Ardy worked hard and made any production he was on run smoothly by weaving his magic behind the scenes with the support of his staunchly loyal transport crew who always came through for him.  And he looked after them.  I recall more than a few boil ups on the go in the production office or the transport house.  That was Ardy - manaaki hard.  He bought the good vibes.  At his tangi, it was remarked on more than one occasion that

he got along with everyone.  Whether you were a hot shot US producer or actor or Joe Bloggs off the street, he was genuinely interested in who you were and what you were about.  He was always authentically himself and it was refreshingly disarming.

It will be no surprise to anyone who knew Ardy that he lived life to the max. I don't just mean the parties (and there were some good ones).  He loved taking his Harley out for long rides with his bros.  He loved horses.  He loved his film whānau and friends.  Above all else, he loved his whānau more than anything.

I thought I knew Ardy pretty well but he was full of surprises.  It was apparent at his tangi that film was really such a tiny sliver of his life.  Hearing stories of his younger years, Ardy lived a full life with deep impact.  It was so moving meeting his whānau and witnessing how much love they had for the man.

The last time I saw Ardy, I bumped into him before a screening at the end of 2021.  It had been a long time since I had seen him but it felt like just the other day.  He was wearing his classic leather jacket, an Akubra hat and the biggest smile.  We hugged, quickly had a beer and caught up on life before heading into the screening. I didn’t see him after that.  I wish I had hugged him a bit longer.

Ardy embodied the best of our industry.  He worked hard.  He played hard.  He loved hard.  But he left us too soon.

Moe mai ra e te rangatira. It was an honour to know you.

Deepest condolences and aroha to his whānau.  Thank you for sharing him with us.

Desray

"1999 - Three Foot Six | Transport Manager and On-set Co-ordinator | THE LORD OF THE RINGS."

REGIONAL WRAP

Take one – Auckland

Daylight Savings is upon us once again, and with that naturally comes the possibility of shooting lengthier days on set! As most crew around New Zealand are already in the throes of working on one of the many television series or feature films that Auckland is currently hosting, it is particularly important that you watch for signs of burn out. After a couple of years of interrupted income, it is wise not to overdo it to a point of exhaustion.

Auckland is struggling to fill a lot of departments required to make productions run smoothly and efficiently, so it has never been a more important time to continue to mentor those that are younger than you by teaching them the skills required to make a film set tick. It is also imperative that crew who are thinking about stepping back in the future are lining up capable and enthusiastic teams to help take over their equipment. While Auckland is in a position of boom rather than bust, and studios are being built to help house many productions simultaneously - none of this is helpful without the ability to provide the personnel. The Guild has been particularly busy over the last year putting together various pathways for industry workers to utilise in the event of onset harassment, bullying or unfair treatment, so please don’t be afraid to bring it to the attention

of one of the Executive Members of the Guild if you need to find further help in these areas. Soon, it looks like the Film Industry Workers Bill will be passed through Parliament, which will mean that collective bargaining will become a new industry practice that all contractors (Guild members or not) will fall under the umbrella of. This will provide you with some security in terms of employment terms and conditions and will force productions to provide you with contracts prior to work commencing (not during, or after as has often been the case over the last 30 years). You will however still be responsible for negotiating your own daily or weekly rates direct with the production company that is looking to hire you.

Workshops will be taking place over the next year, hosted by members of MBIE (Ministry of Business Innovation and Employment) who are helping the Government with the writing of the new Bill. They will walk all of us through how the new Bill will affect all areas of the industry, and who is covered under the new legislation once the Bill is passed through.

Sioux Macdonald, Guild vice president and executive committee member

Take two – Bay of Plenty

It's now been a year since Film Bay of Plenty refreshed its management team. Jade, Tracy and Elysia took on the shared CEO role and what an exciting year it has been. I think we can all say it hasn’t been an easy one and we have needed to constantly adapt and stay flexible. That flexibility has created new ways of thinking and opportunities we would never have imagined.

Filming hasn’t stopped, in fact it has increased to the point where we now have an allocated film permitting person at Tauranga City Council and other councils are considering the same. This is only enhancing how film friendly the Bay of Plenty is. Our proximity to main cities and having so many untapped locations, infrastructure and crew make this not only a good place to film but to live as well. Our production community lives here because of the lifestyle, the closeness to whanau and friends and all just a stone's throw from golden beaches, rivers, geothermal wonderlands, lakes, bush and mountains.

We have taken advantage of the opening up of events and have been collaborating with NZCINE, WIFT, DEGNZ and Share the Knowledge to run sell out events to up-skill and prepare our crew for productions in Aotearoa, both national and international.

We have also been to a number of career expos encouraging our tamariki onto a path in the screen industry. Winter has provided some fantastic networking opportunities and we got to attend the Māorilands Film Festival, WIFT Awards, and the Big Screen Symposium.

We are excited to announce the appointment of our new Board members Sharon Menzies – Managing Director of Fulcrum Media Finance, has stepped into our Co-Chair role. Her governance experience spans over eleven years and includes chair roles, board positions and advisory positions at a national level both in New Zealand and Australia.

Kelly Martin – CEO of South Pacific Pictures. Kelly oversees the management and direction of South Pacific Pictures and all its productions. She is also responsible for generating and maintaining key relationships with South Pacific Pictures' shareholders, distributors, production partners and industry bodies. Her industry experience is a valuable asset.

Micah Winiata – Born and raised in Tauranga Moana, Micah has studied at the New Zealand Broadcasting school and Columbia College Chicago. He is an independent Producer/Director, creating numerous short narrative and experiential nonverbal films. He is keen to grow his knowledge in governance and work with Film Bay of Plenty to support screen media production and growth in the Bay region.

As our Board grow’s in strength so does the commitment we bring to our region. What the last couple of years has shown Producers and film-makers alike is that our region has an ease of business that is hard to match. Moving between locations is easy, permitting is easy and we have some great accommodation deals. Film Bay of Plenty also offers up to 5hrs pre-production time, we go above and beyond to make sure your production runs smoothly.

Filming highlights over the past few months have been the release of Muru which was filmed in the Waimana Valley and Rūātoki in Ngāi Tūhoe country near Whakatāne. This action-drama film written and directed by Te Repa Kahi and starring Tame Iti and Cliff Curtis is about the 2007 New Zealand police raids. Muru opened for the Whānau MāramaNZIFF in Tamaki Makaurau and has been selected for a number of film festivals including TIFF.

Another production chosen for TIFF is We Are Still Here which is the collective work of filmmakers from Aotearoa, Australia and the Pasifika. Bay of Plenty filmmakers Tim Worral and Renae Maihi share stories that presented the realities and complex histories of their regions.

Something to look forward to is Papamoa film makers Claire Varley and Jake Mokomoko from Ten Canaries doco series called Stolen Lands – Betrayal of a Chief. The premiere is being held at Te Papa on September 23rd.

A number of talented Bay of Plenty screen industry professionals have been chosen as leaders in their field. Two Eastern Bay filmmakers Kim Webby and Nicholas Riini have been chosen for Script to Screens FilmUp. This

six-month professional development programme for writers, directors and producers supports and empowers eight filmmakers each year to reach the next stage in their film careers.

We have a Podcast coming! In collaboration with Creative Bay of Plenty we will launch our first podcast over Te Wiki o te Reo Māori. It will be on all your favourite podcast platforms and is the start of more to come.

If you are looking for the ultimate destination for your next commercial, film, documentary, then come and check out the Bay of Plenty. Permitting has quick turnaround, we have plenty of hotels to use as production hubs, our locations are still untapped and we have crew that want to stay and work in the Bay!

TheBayistheplacetofilm. Our locations, crew and ease of filmingmakeitso. Matatoutekāinganeiewhakanui, e whakatuara i te ao kiriata nei Let'smakeourhometheplacetofilm Sign up to our newsletter and follow us on Instagram and Facebook to stay up to date on events, news, and employment.

Take three – Wellington

It's been a long and typically brutal winter here in the greatest little city in the world (argue amongst yourselves).

The TVC's that came flooding into town over summer and autumn mostly all went back to Auckland as soon as Covid had passed. And that's fine. Meanwhile, Miramar continues to hum, as shooting moved from Avatar to, err, “Stonehenge” without too much downtime. And a shout out, of course, to everyone who is still working on Avatar and will be for a long time yet, in postproduction and all that other wonderful stuff that keeps on happening for years –

sometimes – after the cameras and lights and costumes have been packed away. We figure, as the weather warms up – there's a Tui sitting outside on my washing line as I write this. I figure that's a good omen – then the smaller jobs, the commercials and the corporates will start to proliferate again. But for now, except for the usual low budgets and self-funded projects this city excells at, we are a bit quiet out on the streets.

What a great time to update your CV!

All best, GT and Crew Wellington

Take four – Queenstown

So a quieter July and August has led to the busiest September ever. Of the many jobs I was asked about I managed the timing well enough for three. It’s good to be in demand but if there is nothing in October I may have to stand in the worksite that is downtown Queenstown, in my hi vis, and sell parking spots. It’s great to see the local crew all gainfully employed and loving it though. Here are a few notable mentions from the last little while.

Larchmont continue their Michael Hill series of TVCs. I’m really enjoying what they come up with, great story lines and it looks fantastic. The Art Dept again, are knocking it out of the park on these commercials.

The snow scene in Arrowtown at 14 degrees is perfect.

Health

Badly Behaved Babes and Alice Englert’s directorial debut shot a few scenes in her childhood second home around Glenorchy. There she is in the leading role, doing her own stunts, and remaining completely approachable and with a smile for everyone. She’s a one to watch alright. The weather played a little havoc but the crew was ever resourceful and ready.

Finch’s ‘realestate.co.nz’ TVC is terrific. Ms Toa is another young star to look out for. They had an unflappable cast with a second cast waiting in the wings in case of any Covid casualties. Does anyone remember Covid 19? I have a lot of left over RAT tests taking up space in my garage if you need some….

Anyone?

The Beards had some perfect conditions to shoot on the top of the Remarkables

Jade Kent and all the crew at Film BOP

and Safety for the Screen Industry

Helping create safe workplaces

at Lake Alta. The directorial team and Agency flew in from Britain and Sweden and were straight in to it. It’s great to see the international TVCs back on their way over here.

Vodafone, or I should say OneNZ, was a great job. The filming of an installation, instead of a cast was a new experience for me. It was interesting to manage movement and light around lengthy

timelapse phases. The installation crew of Unique Creative were diligent and what they built was absolute quality. The leds were definitely noticed by the locals on Frankton Rd at 0500, and it was fun to cause a stir on Queenstown Trading before a woman complaining about the Volunteer Fire Brigade airhorn stole the limelight. Big props go to the editor, Luke, on this job. We shot extensive footage for over a week, and Luke had to have the final product ready for the live launch and distribution on the last evening of the shoot. Thanks to producer, Mark Foster for being an unfillable sponge and the ultimate problem solver. He may need a sleep in next week.

The ‘Untitled Documentary’ (Dir. Stacey Lee) produced by Fish came in for some moody shots in the region. It is an interesting expose into a complex issue. Keep a look out for it. Motion Sickness were in for a few days and sought some daybreak and sunset vistas in the region. They struck some great locations and dancing light for their upcoming TVC. Sweetooth came back for their next season. Location Manager, Toby Mills had it all under control from the top of the Snow Farm at 4am, over the one way bridge in Clyde, to the appeasement of

Milford Rd bus drivers. Big crew, several locations and a lot to fit in to a small amount of time. Well done crew! So there we have it, a lot going on in the beginning of spring in Queenstown. The Sherwood was inundated with filmy types. They may need a wee break. When you come down, please keep in mind Queenstown is not what it was pre March

2020. It’s very hard to find a table on a Sunday, Monday, or Tuesday in town and everything is taking a little longer than it used to. We still don’t have enough workers in hospitality and it doesn’t look like it’s getting better any time soon. Be patient and remember how awesome our jobs are.

Kim Godby, Queenstown.

Take five – Christchurch

Well, it seems Canterbury is the place to shoot this summer! Crew is in hot demand to help on a slate of long form dramas. Last month the Piki Productions feature Te Motu wrapped up filming in Lyttelton Harbour, setting the stage for another NZ feature Head South starting in November shooting around the CBD. And then it’s all go in January with animatronic troll lead, family-romp, Trolga & Me in Methven; dystopian future feature, The Letting Go, in city central;

Take six – Dunedin

and the six-part crime-thriller TV series

The Cleaner all starting production. It's lovely to have so many productions coming to town (with more in the pipeline), and it seems like all the noise the region has been making over the last few years is starting to pay off. But at this rate, we most likely won’t get our Christmas break until May…

Catch you on set, Zac Beckett-Knight.

A few too many projects fell by the wayside this past few months here in Dunedin. Some big players for all mediums probed around our region, clocking surf sides and unique interiors, VFX plating a few spots..  Projects all set to shoot until either schedule / cast availability / budget shifts swayed them to keep North Island based or offshore

completely much to the dismay of the crew here amping to apply their creative skillset in this Industry.

While there have been Location Scouts continuing to come through town for future projects I can only hope they gain the full go ahead and have the opportunity to see it through to fruition

because once they’re here they will totes LOVE IT. (It’s true, ask anyone who’s shot here in the last decade.)

Working on an upcoming project set to shoot a few days here next month, I couldn’t help but note the comparison to the location recce distances and kilometres covered in Auckland to Dunedin. Where the location views were 30 – 45 minutes away, we had a mighty 2 min jump for many of our locations being viewed.

Petrol consumption aside, our locations offer such diversity within a compact space, equally cool is that so many interiors and exteriors have yet to be seen on screen.

Inspired but the late Tom Sainsbury’s, Simon Bridges Snap chats I dearly miss, I offer you an acrostic poem for your consideration:

NEW MEMBERS

Josh McNulty: Auckland Other

Andrew Lloyd: Auckland Art

Richard Cooke: Auckland Art

Warren Rodricks: Auckland Camera

Sharon Murphy: Auckland Accounts

Scottie McKinnon: Auckland Camera

Ian Craig: Auckland Art

Norman Mann: Auckland Sound

Hamish Gough: Auckland AD

Valter Carmelo Winkler: Auckland Sound

Ant Davies: Wellington AD

Ivars Berzins: Wellington Camera

(Please do your best to read it like Tom / Simon would.)

D Dark Gothic architecture, folks, take your pick.

U Uni’s clock towers off limits but the rest of it is slick.

N Need a castle? Yea we got one here that you can use.

E Enchanting summers with longer daylight, an extra hour or twos.

D Diversity for onscreen talent, yup, no problem we can do!

I Is it really only 5 minutes’ drive from location 1 to 2?

N Nah we don’t say nah to anything, whatever we’ve got we’ll share.

Back your bags, stay long, stay short but just bloody well come here.

Rebecca Rowe

Joseph Veale: Christchurch Sound

John Chrisstoffels: Christchurch Camera

Sage Forest: Christchurch Transport

Jake Stanton: Christchurch Camera

Bree Loverich: Christchurch

Facilities/Suppliers

Donna Macintosh: Queenstown

Facilities/Suppliers

Patricia Donna Allen: Queenstown Sound

AS/NZS 4249 2022 recently superseded AS/NZS 4249 1994

That’s a lovely lot of numbers but what does it mean.

In the following the phrase ‘Film or Television Set’ is used to cover all filming work that we undertake, size of the job is not an excuse to ignore this standard.

Every person involved in Lighting or any Electrical work on a Film or Television set in NZ should be knowledgeable in this and other standards that it references.

AS/NZS 4249 is a joint Standard developed between New Zealand and Australia specifying safe working and installation practices for the supply and use of electricity for equipment, accessories and lighting on limited duration Film and Television sets in both countries.

It has been 28 years since this standard was created and there have been a lot of changes in those years.

The 1994 version was predominantly a safety standard not an installation standard. Since the 1994 version was first published the parent document AS/NZS 3000 Electrical Installations (the Wiring Rules) has been updated and republished 3 times as well as 6 amendments published.

Electrical safety is paramount irrespective of the installation type or use, a complete revision of this standard was required to bring it in line with other electrical installation standards for the safety of persons, premises and livestock.

Also environmental issues must be considered in the new version with the simplest being we do not want electrical fires.

The 4249 2022 is heavily dependent on AS/NZS 3002 2021 Electrical installations - Shows and Carnival events. Knowledge of 3002 is vital as it describes a lot of the groundwork for reticulating power on Film and Television sets.

All electrical work on an installation is required to comply with AS/ NZS3000:2007. AS/NZS 3000 also cites other Standards that need to be complied with depending on the type of installation.

In a couple of instances the NZ Standard deviates from the Australian. These were added to enable us to allow the use of electrical equipment that complies in its home country to be used in NZ on a temporary basis for the duration of the production. It must be checked and verified by a Competent person.

Competent person is a term that describes a person who has acquired through training, qualifications, experience or a combination of these the knowledge and skill enabling that person to perform the task required correctly.

Some other deviations for NZ were requested regarding use of multiboxes and tapon 10a plugs but as these went against the AS/NZS 3000 these were not permitted. These are commonly used in NZ but are regulated for the amount of power that can be drawn through multiboxes and the number of Tapon

plugs that can be used on one outlet/cable. Please note the use of double adaptors and travel adaptors are not allowed.

AS/NZS 4249 2022 also states that testing of electrical equipment must periodically be tested during the hire if the initial test duration of the items expires during the production, this is from AS/NZS3000 and 3019 is undertaken by a competent person and records must be kept. Note this is not only the lighting and power distribution but every piece of electrical equipment on a production from sets to offices including construction.

This article is to give you awareness of the standard.

If you are involved in lighting or electrical work in our industry please get yourself copies of the standards mentioned and any others that you might find relevant. The safety of our work and the people involved is of paramount importance. Ignorance of these standards is no excuse

Electrical Standards can be purchased from Standards NZ www.standards.govt.nz/

UPDATE: Screen Industry Workers Act 2022

This is an important notice to let you know it has now been passed in parliament and it will come into force on the 30 December 2022.

Previously known as 'The Screen Industry Workers Bill' (SIWB), it is now called the Screen Industry Workers Act 2022 (SIWA)

This is a really BIG deal and something you need to know about!

What is SIWA?

The Screen Industry Workers Act 2022 (SIWA) is a new framework where screen workers who are contracting within the screen industry will be protected by a clear set of minimum level working conditions that have been agreed upon by all interested parties, MBIE and Government.

To enable agreement on these minimum terms, the Act now allows collective bargaining to occur where previously this has not been possible. The Act itself does not set the minimum conditions, those things will be set at the collective bargaining stage and a baseline contract called an “Occupational Contract” will be developed in the near future.

There a number of different worker groups within the screen sector who will all have their own Occupational Contracts put in place, but those workers falling under the SIGANZ umbrella are called the Technicians(Production) Group.

The Occupational Contract for our group will set the minimum terms for technicians in areas such as terms of engagement, working conditions and minimum rates of pay.

It's really important that you familiarise yourselves with the Act and how it affects you.

SIGANZ to become a Worker Organisation

The exciting news is that in the next few months, SIGANZ will become registered as a "Worker Organisation". As a registered Worker Organisation, SIGANZ can:

• Initiate collective bargaining on behalf of its members to create and then make future changes to the Occupational Contract.

• Assist its members who are working on a specific production to initiate and collectively bargain what is called an Enterprise Contract if the terms of the Occupational Contract need to be deviated from.

• Represent its members (who are covered under the occupational contract for Technicians (Production)) if they need assistance with a contractual dispute.

Collective contracts will actually be enforceable by the Act!

How to get involved in the collective bargaining process

We want you to engage with SIGANZ during the consultation process as the occupational contract for Technicians(production) is going to affect you regardless of whether you’re a member or not. The best way for you to engage with us is as a SIGANZ member.

What can I do now?

Start thinking about these areas:

• Pay rates

• Entitlement to Breaks

• Public holidays

• Hours of work

• Availability for work

• Bullying, discrimination, and harassment processes

• Termination processes

• Dispute resolution processes

The Occupational Contract must include clear parameters around the above conditions and will be part of the collective bargaining voting process. The more Production Technicians who vote YES or NO to the options presented during bargaining, the more relevant and accurate our Occupational Contract will be.

It is best to be involved as the Occupational Contract WILL affect you whether you chose to vote or not.

You can find all the information you will need to understand the Screen Industry Workers Act 2022 (SIWA) on our new SIWA page on the top menu of the SIGANZ website.