NZTECHO Autumn 2023

AUTUMN 2023 | ISSUE 96

The Screen Industry Guild Aotearoa New Zealand quarterly

Staying safe online What’s on at Avalon?

Industry heroes: NZ Camera Cars Haere ra- , Ans Westra

www.screenguild.co.nz

EDITORIAL Hi all, A lot can happen in three months. The last time I sat down to write one of these was a few weeks before Christmas. And since then it seems the country spent a month plunging into one natural disaster after another.

To all our friends and Guild members in Auckland and

CONTENTS GUILD NEWS & VIEWS 2

Behind the scenes Kelly Lucas

4

President’s rave Brendon Durey

INDUSTRY 8

Cyber safety and data protection

Te Tairāwhiti, the first months of 2023 have been a brutal

TECHOSPHERE

reminder of what the weather can do to us, with only a

6

Change of ownership for Avalon Studios

16

Introducing ... NZ Camera Cars

17

NZFC announces new CEO

18

In memory of Ans Westra cnzm

few days warning, if any time at all.

We hope you are all safe and uninjured and that the damage to your properties and equipment has been minimal. But, we fear that might not be the case for everyone.

As an industry that relies on seasonal weather, exterior

20 Regional wrap 25 Newbie: Meet Christopher Stratton

work sites and international travel, we are going to be hearing a lot more about the climate and the part we all have to play in it over the next few years and beyond.

There are plenty of people who will tell you that as long as the USA, China and India are still burning coal and drilling for oil, then there is nothing practical that we can do to help the crisis. And there are others who will say that it is up to everybody and every industry to do their part - and to lead by example.

Cover photo: Ans Westra cnzm

But right now, we clean up, rebuild and - hopefully move forward.

In this issue you'll find a well informed piece on online security, an introduction to the brilliant crew and equipment at NZ Camera Cars, a short piece from the Film Commission to welcome the new CEO, who we will be hearing from properly in our next issue, and one of the best and most thoughtfully written "newbie" profiles you will ever see. Welcome Christopher Stratton. You're off to a flying start.

We also have a piece from Gary Watkins at Avalon

ISSUE 96 AUTUMN 2023 Editor Graeme Tuckett Publisher/advertising Kelly Lucas Design Jason Bowden / Anim8a Ltd Printing Pressprint Ltd Contributors Graeme Tuckett Gary Watkins Andreas Mahn NZ Camera Cars David Alsop

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)

Studios, to clarify exactly where that facility is at and what the availability of studio space is in the immediate future.

And as always, we have regional wrap ups from all over the motu and pieces from President Brendon Durey and the executive.

Thank for reading. It's always a happy challenge to put NZTECHO together and we hope this issue has some stuff in it that is of use to you, Graeme and Jason.

www.screenguild.co.nz

GOLD STARS & CHOCOLATE FISH N To Brendon, Sioux, Nick and Christian, for all the continuing hard work, on everything.

2 | NZTECHO Autumn 2023

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 Screen Guild Whanau, We're already a quarter of the way through the year, and exciting things are happening here at The Screen Guild!

By the time you read this, we will have launched our new website with a host of new initiatives available to you. It has taken a lot of time and planning to put all this together, but we are finally there, and you reap the benefits.

Our focus for 2023 is all things ‘connectivity' we decided that part of that process is to deliver a raft of tools that can make your day-to-day life easier. Here is the list of new features you will find on the website; if you can take a minute to have a look, we welcome any feedback so we can keep enhancing our delivery to you all.

This is an ongoing process, and we will add and update your information all year.

First of all our new website features the new tagline 'Better Together' and we are.

Here at The Screen Guild, we see our mission to work with all crew and the wider sector to connect with each of you and what your needs are as a contractor.

We are your support! In the absence of HR departments in our day-to-day working life, The Screen Guild is here to offer the help you need, from reviewing contracts to answering questions on The Blue Book, offering crew rep support, guiding you to external mental health support, or just helping you work out your rate and other business questions you may have. We also have a newly updated Member Discounts program that provides you with fantastic discounts at an extra 47 businesses around New Zealand.

The website features a ‘Crew Zone’ where all members can access resources that include: Member Discounts, The Blue Book, Rate Cards, Screen Industry Workers Act (SIWA) information, Online Workshops and Training, Crew Rep Resources, and a whole new section containing templates that you can download

and use. Our support contacts cover Mental Health, Bullying and Harassment support.

We have also provided quick links to get you from our support webpages direct to the support services you may need to access.

You can now read the NZTECHO magazine online, and we have set up an ‘Events’ portal that will include all the latest events you can attend with direct booking links where possible - watch this space for more to come.

With the release of our new website, we would like to bring your attention to the new Blue Book and the industry rate card guides. These initiatives have taken over a year to put together, much of which was undertaken during the last 2022 lockdown.

The Blue Book review was undertaken by the guilds sub-committee and in consultation with SPADA and NZAPG. I want to thank Brendon, Sioux, Nick, and Christian for all their time and hard work in finalising this review and consultation and SPADA and NZAPG for working alongside us to update this information.

We will have the changes on a separate document on the website, and we see this process taking 3-6 months for productions to implement due to some being in production already.

Next is the highly anticipated Industry Rate Card release. The Rate Card guides are living documents, and we welcome any feedback regarding the published rates by emailing our new ratecards@ screenguild.co.nz email address. Another massive thank you to all the HODs from each department that helped formulate these rates and to the producers who gave their time and feedback. Creating the first rate card together was a mammoth task, and I am grateful to Tracey Sharman (our project manager) for all the attention to detail that went into getting them together.

It will be much easier from here to update annually, so feedback is crucial to keeping these as current as possible.

The website has all you need to know about the Screen Industry Workers Act (SIWA).

There is a lot of information there, but we

NZTECHO Autumn 2023 | 3

will host workshop evenings to cover more and answer any questions you may have.

You will also see a new feature called the ‘Business Toolkit’ under the Workshops and Training heading on the website. The Business Toolkit is a series of 11 online animated videos that we will be releasing over the next couple of months explaining how best to set up a screen industry contracting business. Choosing the Right Business Structure - Part 1 is now online and will be followed shortly by more topics including: working out your rate, getting your invoice right, how to charge your overtime, kit, etc., what you can and can't claim, understanding ACC, GST and Tax and more! We have broken these down into bite-sized animated explainer videos so you can jump in and out of them when you need the information. There is also a Resource Toolkit filled with external information that you may also find helpful. We will be working on other workshops in the future, so if you have any great ideas for workshops you would like to see online, please let us know.

Another note is the Crew Rep Resources.

This workshop series is underway, and we will release more information in the coming months.

Last but not least is our exciting new Member Discounts aimed at saving you money all year round. Think about it this way, within just a couple of purchases the discounts you receive will have covered the cost of your annual subscription! The added bonus is that these discounts are available for use within both your business or personal spending. We have our usual discounts available, including Bluebridge and Interislander Cook Strait Ferries, Crombie Lockwood Insurance offer, but now we have an additional 47 suppliers covering hardware, fuel and vehicle, appliances and electrical, office products and supplies, car and equipment hire, hotel and accommodation, food, fashion and more! Phew! We have teamed up with CSC Buying Group who support several

amazing charities. So what you spend goes back to a broader community of not-forprofit organisations, which is a fantastic win-win! So whenever you spend using our new member discount offers, you are also supporting our wider NZ community and many needy causes. What a fantastic win-win!

Plus, we have another VERY exciting discount program coming, so look at the launch of that too!

As you can see, there has been a lot going on, and another big thank you to Tracey Sharman for leading the charge on getting our website up and running. It's been a massive project, and I’m sure you will agree, a very worthwhile one for everyone that is a member.

The ScreenSafe Professional Respect training workshops are back up and running for the wider industry. If you still need to attend a workshop, please look for the next one in your city. This workshop is helping create safer sets for everyone.

Check our events for further details.

In signing off today, a shout-out to all our members for your continued support.

Please spread the word within our community about all of our work and what we offer all screen sector technicians. The more people we have on board at The Screen Guild, the more we can do to support our community of NZ screen workers, so jump on the 'Better Together' initiative and spread the word about all our new and exciting new Screen Guild offerings!

We know the last few months have been a trying time for many of our screen community who have been effected by floods and cyclone damage. We just want you to know we’re thinking of you. Kia kaha to all our brave screen soldiers battling the after effects, please don't hesitate to get in touch if you need any further support.

Ngā mihi Kelly

4 | NZTECHO Autumn 2023

PRESIDENT’S RAVE Guild President Brendon Durey Greetings fellow guild members and screen industry colleagues. The last quarter of 2022 and the beginning of 2023 has been a productive time for the New Zealand Screen sector in several areas. Broadcast TV and local productions have been busy and buoyant. Offshore productions have been shooting in Wellington and Auckland. The TVC’s have been increasing in their frequency.

There has also been some important consultation and changes being made to the screen Incentives/rebates that regardless if we like not or not affect us all.

The incentive rebate review closed its consultation phase in December 2022.

Called “The review of Government Investment in the Screen Sector” essentially, it’s a review of the incentive, how it was targeted and how effective it was for attracting the types of productions that work best for NZ. There was discussion about how we encourage more NZ content and also put training and development of NZ crew and creatives into the picture.

The Guild Executive discussed what we 1 22/09/17 11:36 AM felt was best for the guild and provided

Lifeguard & Safety 181mm x 65mm.pdf

C

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CM

MY

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CMY

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SPECIALIST FILM & TV SAFETY

feedback on behalf of our members.

Whist the consultation finished in December last year the decision from the Government will not come until June this year.

The Screen Workers Act has passed through parliament and is now law.

What exactly this means to us all is still essentially still being locked down.

Much of the content is already in place for our industry in the Blue Book and the ongoing dialogue that SIG has had with SPADA and the NZAPG over the years. Essentially it looks like many aspects of the conditions we work under in the blue book will be formalised under the new law and we will need to go through a process to work out all the details in the coming year.

International economic headwinds are hitting the world in the wake of Covid, its ongoing economic impacts and the increased inflation internationally that has resulted. Interest rates have been on the rise globally and the increased cost of borrowing will have real ramifications for the screen sector as studios and streaming services trim their budgets and the amount of content, they have lined

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

NZTECHO Autumn 2023 | 5

up to shoot internationally. I’ve heard anecdotally that studios previously booked out long term in the UK and Canada now have space and the period of rampant international production appears to be slowing down.

We appreciate the support of:

I’ve also heard from those involved in the NZ studios that forward booking for our studio spaces for the second half of 2023 is the lowest it’s been for a long time. There is concern locally that the uncertainty around the changes to the rebate coupled with the uncertainty about the screen workers act paired up with the global economic headwinds might spell a quiet second half to this year. Here hoping that things start looking better soon.

Brendon Durey

Mick Sinclair Ph +64 9 360-9995 www.sinclairblack.co.nz

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6 | NZTECHO Autumn 2023

TECHOSPHERE

Change of ownership for Avalon Studios, Wellington Gary Watkins Avalon Studios has been sold and the new owner has taken over the site from 1 March 2023.

For now it means “business as usual”, Gary Watkins (CEO) and Anita Burnside (Office Manager) remain at Avalon to manage the facility and business for the new owner. The previous owners felt that after 10 years of private ownership of the facility that it was time to review their investment strategies. Prior to April 2013 the facility was owned by TVNZ, they moved all productions away from Wellington at that time which included moving the Lotto Draw to Auckland.

Avalon was therefore deemed surplus to TVNZ requirements and the challenge to rebuild the business by the new owners began. The NZ Racing Board after 18 months decided to move their two live racing channels to Auckland also, so the

Metro Productions, Libertine Pictures,

first 2 years of independent ownership

Moments Productions, and many more.

was a difficult period.

Avalon has continued to attract over the years a run of local film and documentary productions (ie Savage, Daffodils, Catching the Black Widow, Belief: The Janet Moses Story, One Thousand Ropes, Cousins, Coming Home in the Dark, Low Down Dirty Criminals and many more) and TV series (Wellington Paranormal, Thunderbirds UK).

Over time Avalon was able to attract some significant key tenants to the premises (Kordia, Parliament TV, Maritime NZ Rescue Centre and more recently Memnon – digital archiving operation) for the surplus spaces on level one of the studio building. A number of smaller industry related tenants also moved into Avalon creating a screen production community, including the Whitireia Film School,

Avalon has also serviced some major international productions including

NZTECHO Autumn 2023 | 7

A24 -X and Pearl films, Mr Corman, Pete's Dragon, Ghost in the Shell, Avatar, Mortal Engines, Blade Runner 2049, Frontiersmen.

due to the current lack of film

Avalon Studios certainly is still open for bookings for screen production space but with only limited studio availability for a few months having recently leased some of the workshop and studios (not all) for Tesla car storage and distribution

Avalon still has production office space,

production enquiry for the current year this decision is a prudent move until screen production activity improves. makeup, wardrobe and various support rooms and yard space available for hire this year, areas which most local productions predominately utilise.

Part of the Avalon ethos is to support and help new and existing local screen producers, from short films to commercials and features, often providing resources for free or providing investment, this will continue.

So despite a change of ownership the facility and business continues to operate and be part of the screen production industry.

8 | NZTECHO Autumn 2023

WIDE ANGLE

Cyber safety and data protection Digital and online health and safety

By Andreas Mahn, Feb 2023 Over the last few years we have seen

proceed with a project in a safe, legal

and welcomed the strengthening of

and organised manner.

provisions for physical and mental

Some people will debate whether or

health and safety in the film industry.

One area that’s lacking are good mechanisms for ensuring we are safe in the digital world.

not anyone, let alone a production company, should ask about their vaccination status or if we should be vaccinated in the first place. But this

Many productions have steered

not what this article is about.

away from hard copy paperwork and

Collecting all that information and

embraced digital and online solutions.

Gone are the days where crew members,

data is vastly beneficial and superior to maintaining hard copies and paper

on their first day on the job, had to make

records – in most cases. The fact that we,

to way to the production office and fill

for example, distribute call sheets in

out what felt like a phone book-sized

digital form by email, including having

stack of forms. Instead, the norm is now

the ability to communicate last minute

usually a link in an email, prompting

changes has probably saved a forest the

us to fill out those same forms online.

size of a small African country alone.

And more recently of course we have

However, collecting data and

seen CoViD declaration forms added to that, at times including questions concerning vaccination status but also details about our recent work commitments and movements around the country. Recently this has morphed into a more generic “don’t come to work

information online, but also communicating digitally comes with challenges, liabilities and responsibilities. Those who communicate electronically and collect data, e.g. the production office, and those who consume that communication

if you’re unwell!” clause. By and large,

and provide data, e.g. crew members

the questions asked in those forms

clearly benefit from this communication

and declarations are being asked for

and data collection. But the means of

good reason in order to provide the

transmitting that data has many pitfalls.

production the information needed to

Anyone who is using a “free” email

NZTECHO Autumn 2023 | 9

provider such as Gmail should be

we share, where it is stored and who

aware by now that Google in some form

has access to it.

or other, will be listening in, in order to use that info to serve you up some topical advertisement eventually.

While that is rather harmless and quite literally the price we pay for using a free online service, it becomes more problematic when we consider what information we share and how, or if at all, it gets protected.

Communicating by email using free email services is considered not safe; email traffic is easily spied on. Cloud storage solutions may store sensitive information offshore, i.e. outside the jurisdiction of the NZ legal system.

Also the cloud storage provider may read (and learn from) what is stored on their servers. That same provider may

So the pitfalls range from being dished

shut up shop any time or simply delete

up ads, to uncertainty about which info

data, change their terms of service. It is

10 | NZTECHO Autumn 2023

now entirely conceivable that a bored

context ends up in the wrong hands.

overseas billionaire buys up your

It is therefore pertinent that any bit of

email provider and checks on your

data and information is treated in the

vaccination status.

most secure and responsible way – from

On the other hand we should expect

anyone involved in a project.

and demand that productions keep our

The problem is that digital

information and (personal) data safe.

communication and storing data in

Just in the same vein as productions

“the cloud” has become so simple and

frequently ask us to keep information

ubiquitous that we tend to overlook the

about them safe – for example by making

pitfalls. Providers of what we use as

us sign non-disclosure agreements. In

digital communication mechanisms

fact it’s obviously in the production's

of course make this so simple; it is

interest that no information in their

accessible and useable to the broadest

NZTECHO Autumn 2023 | 11

possible user base. For the Googles and

issue is that I’ve sent that image by

Facebooks of this world this is because

email, possibly (in fact, frequently) to a

we are not their clients but rather their

production crew member’s private email

products which they on-sell to their

address. That bears two risks: Someone

advertising clients. And while many

along the way could get hold an image

alternatives to email exist, mostly in

of my driver’s license and use it in an

the form of messenger apps such as

unauthorised way, e.g. as basis to forge a

WhatsApp, Signal or WeChat it is safe

driver's license or use it instead of their

to assume that in fact everyone has and

own license to hire a car. They could also

uses email yet only a subset will use any

use it to steal my identity. Finally, my

one or more of the messenger apps.

(email-) contact details end up in that

Scenarios Here are a number of scenarios that are typical of how we share data with productions and where

crew members account. If their account gets hacked my details will end up in the wrong hands. I frequently get spam emails from accounts that have either obviously been hacked or where a hacker

this is problematic.

has at least worked out that whatever

“Email me your driver’s licence”

email is known to me.

Many productions ask me for an image

Let me be clear, I am not suggesting that

of my drivers license – presumably so

any production crew member has ever

they can see evidence that I am in fact

abused my email (or driver’s license).

entitled to drive a (company hired) car,

I am merely flagging that risk. Email

but also as this is frequently required

accounts get hacked, or it could be the

by car rental companies as part of their

next email recipient who pinches my

rental agreements. So far so good. The

info, or their employer, who knows. The

name they use as sender in a phishing

12 | NZTECHO Autumn 2023

point is that the moment I send my info via any unsecure mechanism I totally loose control over what i have sent. Of course I completely understand that for the sake of efficiency I possibly need to accept that risk (If I don’t send that driver’s license it immediately gets a bit more complicated). But I can ask for that risk to be minimised – more on that later.

Personal details In context with the CoViD pandemic we got used to declaring our vaccination status and have accepted to share test

results, often in connection with our NHI number. Also, questions about known medical issues as well as dietary requirements are now the norm. Again, this is usually done for good reasons so that a production can ensure adequate H&S procedures are in place, and the right food on the lunch table.

The stakes are a bit higher in this scenario; most people would probably object to having their medical issues shared with anyone except those who actually need to know. Our NHI number is another bit of information that could

NZTECHO Autumn 2023 | 13

be used to steal one’s identity, or that

reason, or what sort of medical issues

can be used to gain access to our

I might be facing.

medical records.

This, in turn, opens the door to a bad person using this for extortion or simply to embarrass us. But at the heart of it again is the email traffic should any of thatinfo have been send via email.

But even if it may have been collected via an online form (such as Google forms, Airtable or similar) it is still not necessarily secure. As a crew member we normally don’t know who has access to that data in the production office: The producer? Production manager? The office runner..? We don’t know if any of these persons have their access removed once the production is over. Or can the runner in 10 years time still look up what details I may have provided at the time.

(Fun exercise: check your own Google drive, or your Dropbox, and look for items that have been shared with you.

In my case I have access to documents that were used for projects many years ago, often with interesting details such as contacts, phone numbers etc. I also have shared access to files which simply got reused for other projects, not just the ones I was actually involved in. Or check your spam folder to see which past and present crew members have the greatest offer ever available exclusively to you).

We’re feeding information about us to the data giants where it stays forever.

Data security Another aspect of cyber security is that it is not just in a crew member’s interest to have adequate data protection in place but of course also for the production itself. As mentioned earlier, many productions go to great lengths to at least arrange legal protection of their IP, their relationship to crew, as well as a number of other organisational matter by making us sign contracts and NDAs. Often we are also being reminded that we are not allowed to take pictures to share on social media.

In other words, productions are already aware that they need to take active steps to ensure nothing of their own data and information ends up in the wrong hands, or can be used against them.

Yet contracts and deal memos are also frequently signed or distributed via email and cloud solutions such as Google drive or Airtable. Over the last few years a number to film industry specific solutions have emerged such as Showtools, Studio Binder or MyDaes.

Other, more department specific, solutions may exist, but in any case a production would need to be prudent how their information stored with an online service is being used, and stored.

These questions spring to mind: •

data stored?

I’m sort of ok with Google knowing that I can’t eat macadamia nuts, but I don’t think they need to know if I’m married or not (or to whom), what sort

•

How reliable is that service?

•

Does it look like it’s been created last century and hasn’t been updated?

of vaccinations I have, where I’ve been in the last few weeks and for what

Where in the world is the

•

Is it likely to still exist next month,

14 | NZTECHO Autumn 2023

with the same owner, under the same user agreement?

•

What else is the data being used for?

•

Is it being analysed for

Increase cyber safety So what can we do? There are however a number of steps that can be taken to increase cyber safety and data protection

marketing purposes?

across the board:

•

What safety measures are in place?

Production

•

What techniques are in place to

•

prevent unauthorized access?

Commit to keep crew members’ data safe, legally, or at least contractually

At least one of the film specific service

binding. This is not more to ask than

providers, Moneypenny’s MyDaeS, poses

a production asking a crew member

a significant security risk, as it stores user

signing an NDA.

passwords in plain text. If you have ever worked on a production using MyDaes

•

a data protection manager, who is

you will have noticed this when they

in charge of all data collected by

send you the welcome email: It contains

a production. They would ensure

your password in plain text. Requesting

that all data is kept safe and only

a change of password will send you a new

disseminated where and when it is

one, also in plain text. This means that

needed. They would ensure any data

anyone at Moneypenny who has access

goes offline or is deleted when it is

to their database will have full unlimited access to all data stored with them by a production. Since they are sending out

no longer needed.

•

role) has access to the data a crew

easy to gain access to someone else's data. thus have the potential to put a whole

member has provided.

•

needed and remove access for those

their crew members data.

people who no longer require it.

Making all of a production’s data and

And let the crew members know

communication watertight is not a communication between crew members

this has happened.

•

control over, such as their own web

Even if a production company chooses to relying on production crew members’

and email server, based in NZ. •

full disclosure over their

image of my driver’s license via my own

protection mechanisms.

gmail address that still gives Google the about me.

Consider using NZ based cloud services and web servers with

private email accounts), yet I send the

opportunity to harvest that bit of info

Consider communicating via channels that a production has

and production office is easy to reign in. use their own email server (rather than

At the end of a job, tie up the loose ends, i.e. delete what’s no longer

production at risk by exposing their and

simple undertaking. Not even the

If a data protection manager is not doable, declare who (by name or crew

passwords in plain text it would be very Unsecure services like Moneypenny

Consider implementing the roll of

•

Only ask for info that is actually needed.

NZTECHO Autumn 2023 | 15

are known to be attack vectors for spam or phishing, i.e. don’t send .doc or .xls files. When communicating using 3rd party services such as payroll providers make sure the correct context is evident otherwise recipients (or the email provider itself) may class it as spam.

Crew Usually there is little options to sharing some of your data. But if you feel too much is being asked talk to production to see if they actually need it (I often find that forms are being reused from other projects which ask for details that do not pertain to the job at hand).

Let production know that you’re not comfortable sharing some info.

Ask production to not share any of •

Declare why it is needed.

•

Don’t ask for information more than once.

•

other purpose. This may be little more than a token gesture but at least it raises awareness that you take your

Provide alternative means of

data serious.

collecting information in case a

Rather than sending information by

member is not comfortable sharing any piece of information or data online. E.g. instead of asking a

email, consider sharing it via a cloud service you trust, or via a mechanism that’s encrypted such as most messenger

crew member to upload an image

systems. (WhatsApp counts as a safe

of their passport to an insecure

messaging option as it is encrypted,

server such as MyDaeS, consider if

and there is no evidence so far (as of

the data protection manager can

Feb 2023) that Meta (Facebook's and

check and confirm if that crew

WhatsApps’ owner is reading along).

member is legally allowed to work in NZ or entitled to work on a film commission funded project. This could be done without making any hard- or soft-copies.

•

the data you’ve provided for any

As a last resort, you could consider providing incomplete information though you have to be aware of the consequences if that could be read as you providing false information

For basic cyber-safety, don’t send

which may be in breach of your

any documents in file formats that

contractual obligations.

16 | NZTECHO Autumn 2023

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NZTECHO Autumn 2023 | 17

TECHOSPHERE

The New Zealand Film Commission announces new CEO The New Zealand Film Commission (NZFC) is pleased to announce the appointment of Taima Anne (Annie) Murray (Te Arawa) to the position of Chief Executive Officer for a five-year term.

NZFC Board Chair Alastair Carruthers, in making the announcement today, said “I am delighted that we have found someone of Annie’s calibre to lead the Commission.

She has exceptional experience and a deep commitment to stories from the diverse voices of Aotearoa. I have no doubt she will have a positive impact on filmmakers and the organisation in years to come”.

Since 2020, Annie has been Head of Sky Originals after starting at Sky TV in 2014 as a Senior Commissioner. Prior to this she was Head of External Programming at Māori Television. Annie also serves as Interim Co-Chair of the Toi Mai Workforce Development Council Board, a member of Te Kāhui Ahumahi, and is a member of the Bay of Plenty Regional Skills Leadership Group. She is also a Trustee of Ngā Taonga.

Annie will take up the CEO role on 19 June 2023, and will relinquish all professional roles by this date to focus full time in the position and ensure no conflict of interest.

Annie’s 23 years’ experience in New Zealand’s screen industry across both content commissioning and production will give her a running start at the NZFC. She has also worked in the public sector with the Broadcasting Commission (NZ On Air), Māori Television and had two stints at TVNZ. Academically she holds a Master of Education (First Class Hons)

from Waikato University and a Diploma in Bicultural Journalism from Waiariki Institute of Technology.

"I am honoured and humbled by the Board’s decision to entrust me with this opportunity to lead Te Tumu Whakaata Taonga. The Film Commission’s role is to champion exceptional storytellers to create enduring taonga for Aotearoa. I have dedicated my career to empowering the stories and storytellers of New Zealand and I am privileged that in this role I can continue to do that," says Annie.

She adds "We have a New Zealand and global audience that wants high impact, authentic and culturally significant screen stories. New Zealand’s population is becoming more diverse, which creates rich opportunities for screen stories that reflect our many and varied communities.

I look forward to working with the team, the wider screen sector and international partners to explore exciting and new opportunities for the Film Commission now and in the future."

18 | NZTECHO Autumn 2023

IN MEMORY OF

Ans Westra cnzm

Anna Jacoba (Ans) Westra CNZM was a

life and culture. In 1998 Westra

pioneer of documentary photography,

was awarded the Companion of the

and one of the first women to work in

Order of New Zealand Merit for

this area in Aotearoa New Zealand. Born 26 April 1936 in Leiden, Netherlands,

services to photography.

Ans immigrated to New Zealand in 1957

A major exhibition of her work,

at the age of 21, eventually basing herself

Handboek: Ans Westra photographs,

in Wellington

opened at the National Library Gallery

Self-taught, Ans spent long periods of time traveling around the country

in 2004 with an accompanying book and film, the exhibition was also shown

as a full-time freelance documentary

at major centres around the country

photographer committed to observing

before travelling to the Museum voor

and candidly documenting New Zealand

Volkenkunde in Leiden.

NZTECHO Autumn 2023 | 19

In 2006 a documentary was made about the artist called Ans Westra: Private journeys/public thoughts, and in 2007 she was made an Arts Foundation Icon, an honour bestowed to a living circle of 20 New Zealand artists for their extraordinary lifetime achievements. In 2015 she received an honorary doctorate from Massey University in recognition of her long-standing contribution to New Zealand's visual culture.

Ans has left a remarkable legacy of photographs documenting New Zealand’s most remote areas to street scenes, stock saleyards, rugby games and the Porirua Mongrel Mob. She also photographed around the world including Tonga, Fiji, the Netherlands, the Philippines and New York. Her contribution to debates about how

New Zealanders view themselves and each other is exemplary, and has had a marked and lasting effect on our visual culture.

Ans' style and dedication were immensely influential on generations of cinematographers and documentary makers, in Aotearoa and beyond.

Ans died peacefully at her home in Tirohanga, Wellington, on 26 February 2023. She is survived by her half-sister, three children and six grandchildren.

David Alsop

20 | NZTECHO Autumn 2023

REGIONAL WRAP

Take one – Auckland Well, well, well, Auckland just can't catch a break, can it? The double floods on Anniversary Weekend followed by a cyclone that wiped out a lot of the west coast filming infrastructure. Talk about bad luck! But you know what they say: when life gives you lemons, make lemonade. And that's exactly what our kiwi crews have been doing! Despite the challenges, they've been working their magic on the Apple TV Chief of War project and proving why they're the best in the biz, re-searching new locations and making the best of the new landscapes.

Of course, it's not all sunshine and rainbows. Our beloved Auckland is facing some serious hurdles when it comes to getting permits and consents for filming. It's frustrating to see our once-favourite locations becoming offlimits and permit applications taking ages to get approved (if at all). But hey, we're a resilient bunch, aren't we? We'll keep fighting for our right to showcase the incredible landscapes, beaches, and ranges that put Auckland on the international stage all those years ago.

A word of advice is to make sure that whenever and wherever you are filming outside anywhere in Auckland or its landscapes or private properties, leave

it better than you found it and make the landowners and stake holders want your crews to come back.

And speaking of fighting, let's not forget the ongoing battle for the Large Screen Production Grant decision. It's been a bit of a nail-biter, but we're confident that our industry will come out on top.

And sure, a recession might be looming, but we're not ones to shy away from a challenge. Lets try and keep the drama in front of the camera instead of behind it as much as possible.

So, what's the takeaway from all of this?

Well, we might be in for a slower winter than usual, but that just means it's the perfect time to network and get your admin up to date. Because let's face it, the next onslaught of work is just around the corner (as it always is!). And when it comes, we'll be ready for it, with our kiwi can-do attitude and our ability to make the best out of any situation.

Stay strong, Auckland! We've got this.

Sioux Macdonald, Guild vice president and executive committee member

VISIT

ScreenSafe.co.nz

Health and Safety for the Screen Industry

Helping create safe workplaces

NZTECHO Autumn 2023 | 21

Take two – Bay of Plenty Well summer was certainly a wild ride in the Bay of Plenty! We’ve got to say we weren’t loving the rain and our hearts and condolences go out to all the people and places who have been affected by Papatūānuku, we stand with you in these tough times.

We tried to slip into a nice groove after the Christmas/New Year break but it has turned into a giant waterfall of ideas, workshops, podcasts and production heading our way. We are beyond chuffed that the work we are doing is supporting to build a pipeline of productions here in the Bay. We launched a podcast last year. We invite you to join us as we delve deep into the minds and works of our diverse industry of Kiwi filmmakers from the Bay of Plenty and Beyond. The Film Bay of Plenty Podcast showcases and supports all aspects of the screen industry, marketing our vibrant and culturally rich region of Aotearoa New Zealand, to the world. Have a listen, they are on all your favourite channels - Film Bay of Plenty Podcast. https://podcasts.apple.com/nz/podcast/thefilm-bay-of-plenty-podcast/id1641219082 https://open.spotify.com/ show/35kVdJmMGEbxXclVT4bMha

Recently we facilitated a screenwriting Q & A workshop with Kathryn Burnett and

a post production workshop, See them, Be Them, https://www.stbt.nz/ focussing on the opportunities for rangitahi. We have more in the pipeline plus a couple of networking evenings we are excited about.

Production …. well it's happening, there is a feature film which has started filming in Rotorua called Ka Whawhai Tonu: Struggle Without End, starring acclaimed actors Cliff Curtis, Temuera Morrison and Miriama Smith and is a coming-of-age drama of two fictional teenagers set alongside real historical events of the Battle of Ōrākau. We have other confirmed productions (international and national) looking to start filming in the near future who will be using some of our skilled local crew and of course our stunning unique locations.

International Women’s Day allowed us to celebrate 11 incredibly talented Bay of Plenty women. They are just a slice of our massive pie of talent. It's feeling like the vibe out there has more commitment to wanting to film in NZ and also taking advantage of the regions. Makes sense really, it’s easy, permitting is a breeze and there are a whole lot of untapped locations ready to be shown to the world!

Come and check us out, you’ll be pleasantly surprised.

Jade Kent and all the crew at Film BOP

22 | NZTECHO Autumn 2023

Take three – Wellington Like a character in a dodgy horror movie, I'm going to say that Wellington is quiet... too quiet.

Until there is certainty about the tax

With no cameras rolling in Miramar right now, and the feature film After The Party wrapped, there's only a few smaller projects around, with the normal run of corporates, a few TVC's and in house work for councils and government departments.

be the state of Wellington for the next

Luckily, being Wellington, there is always a supply of these, but they are nothing like enough to sustain a workforce from a feature film.

here that winter isn't the worst season in

This week at Crew Wellington we have taken calls from people in tears about the state of the local industry. Our friends at Screen Wellington tell us that TVC's and films are coming, but details are scarce.

and summer. But I guess you have to live

The really bright spots in town, are the ongoing drama series and documentary productions, many of which fly right under the radar, being shot by young crews on tight budgets all around the city and suburbs.

do. Let's hope that doesn't last too long.

regime that international productions will encounter in New Zealand, this may few months.

Plus, we are heading into winter and that is traditionally a time when people try not to spend too much time down here in Te Whanganui-a-Tara. I don't know why. It's no secret to anyone who lives Wellington at all. That fresh southerly and the breakers ripping into the south coast just clean the place up nicely for spring here to know that.

Anyway, we have capacity spare at the moment - and some of the greatest crew members in the motu without enough to In the meantime, what a great time to update your CV on Crew Wellington.

All best, GT

Take four – Dunedin From a forest in Makara …

These past few months have been a bit of a ghost town for Dunners.. Some of us local crew have briefly flown the coop to Christchurch, Wellington and Auckland to build skillsets and pay mortgages.

Some of us remain focused on developing regional content, pitching to commissioners in the hope we get the

next leap of faith and a chance at the funding pot.

All in all we’re ready and chomping for the next green light however it may come.

Bex

NZTECHO Autumn 2023 | 23

Take five – Christchurch The summer season has been super kind to productions in the region.

Lovely and warm and most of all, consistent weather. No ‘smurfy' skies here thank you very much.

The crime thriller Dark City: The Cleaner TV series is well underway with a fantastic crew, and a fantastic script.

Welcome to the out-of-towners that have come in for the job. A production of its scale is a pretty big step for the region, but one it has been building towards for the last three years or so. If it continues as smoothly as it started, then it may be a great long term fixture in the region.

Alongside this, two more features are spinning up; Ant Timpson's Bookworm, basing itself in the alpine town of Methven, and keeping in the thriller vibe,

a NZ/AUS co-pro Went Up the Hill. To speak frankly, the long form scene has taken leaps and bounds in this last year, which is wonderful for the local crew to get onto larger projects and for incoming crew to see how great the region is to live and work.

The commercial production space has a slightly different story, with financial journalists writing self-fulfilling prophecies abut a cooling market, companies read these and begin to tighten their purse strings. Inflation doesn’t help anything either. But this industry is a sea of peaks and troughs and we all adapt when needed. I hope you all are staying afloat.

Catch you on set, Zac

Take six – Queenstown I am writing to you all from the raging South Bar in Christchurch airport. Well, raging if you consider me and the three 18 year olds talking about the diabolical dick that is Harrison from MaFs Australia, S10. Why pay an actor when you can get this natural Joffrey Baratheon for a Happy Meal and a ride home. I have just swung a vehicle up from Nic at Direct Rentals in Queenstown for Dark City in Christchurch. Good luck for the shoot Team Canterbury.

Queenstown has had TVC’s all over the district in February. Sweetshop came down to dangle some folk off a cliff. It was great watching the crane setting up

and then all the expert groups doing their thing. It’s one of my favourite things about film jobs, seeing separate, defined departments come together.

Batch shot an offshore camping company advert in Glenorchy and amongst the reeds in a local’s pond. We were also up Qt Hill on Valentine’s Day, and the weather was amazing. This has been the case here since mid-December. The North Island seemed a lot further away than usual with the news reports and the personal stories the Auckland crew told us about the flooding and slips in January. Gabrielle hit the North Island on this day. The Production proceeded to donate all their

24 | NZTECHO Autumn 2023

and our brave safety officer, Brendan Kearns. While somehow, Hippi in the Art Dept, found an appropriate V8 ute, with a Canadian looking boat, and canoe, like the magician he is. We shot in Wanaka, Glenorchy and in a few spots on the Tommy Thomson Scenic Drive.

It was a big job for DIT James Farrow.

He kept Agency online whilst keeping the production on track reviewing and wrangling the extensive footage we shot.

He was all over it.

I’ll also take this opportunity to mention “Whew” and “Go Team” for the Ki Studio shoot way back in November.

We had a whirlwind of a good time with the shooting of (part of) this Tollywood extravaganza. There were challenges a plenty but the team made it happen. imported props, including tents, clothes, camping equipment, bikes etc to the cyclone fund.

Scoundrel had a 5 day shoot for Specsavers, Canada. We flipped the road rules with the help of Southern Safety

(https://www.odt.co.nz/news/dunedin/ tomahawk-plays-host-indian-film-crew).

Finally, all the best to our North Island crew for the clean up and road ahead.

We’re thinking of you.

Kim Godby, Queenstown

NZTECHO Autumn 2023 | 25

NEWBIE PROFILE Christopher Stratton has joined the Guild.

Welcome!

Why did you join the film industry?

What motivated you to become part of such an uncertain world?!

In all honesty I don't think I even considered the uncertainties or realities of being a freelance contractor when I first hopped on a plane to go study film as a fresh 18 year old leaving small town New Zealand. I finished high school in 2006 having spent the years there mucking around with video cameras, finding a deep affinity with two close friends in our love of movies and just deciding to make our own.

This was in the days of mini DV cameras, we had two between the three of us and had some small success in winning a few local and one national video contests. It seemed a no brainer that we would then go to Wellington for university, become film makers and also very rich and famous. The dream team all quit Victoria University after a year for different courses, splitting up and a decade and a half later, we don't quite have the Oscar dreams fulfilled but one of us is head writer and co-producer for an American show, one is a freelance post production producer in the UK, and I'm still bumbling around designing.

In high school I won a very flash phone with internet and a keyboard for having the best art direction in a student film (Wintec Cut contest) and I'm convinced that it was my decision to give a backyard bride a cauliflower as a bouquet that sealed the deal. This was perhaps the true beginning of my relationship with design, props, and comedy - I was rewarded for dreaming up something strange.

So I guess I'm saying - I had no choice - I loved film, both watching and making, and couldn't see myself being happy in any other career path.

26 | NZTECHO Autumn 2023

As for the uncertainty, I don't think I, my

arbitrary decisions, even on the silliest, most "it is

careers advisor at high school or my parents

what it is we're under the pump" style jobs, if we're

were quite sure of the nature of the industry

putting something on screen it has to make sense

being far from it both literally and figuratively

character and story wise - not just what is close,

- Mosgiel. My father does still ask 'and are they

cheap and easy and f*ck it it's only TV. That's a

paying you for this one?' every time I tell him

really tempting trap to fall into with the fast no

that I've booked a new job, despite not having

money or time jobs but taking that extra moment

done unpaid 'for the portfolio' work for nearly

to pause and think about the character and story

a decade, so I think some awareness has slowly

is to me - absolutely fundamental (I've worked

crept into the family. There are times when I've

with some other crew members who didn't

decided to throw in the towel, I had an office job

find it so....). That is the part that makes the job

at a TV network for a minute in 2015 scheduling

enjoyable, discovering the world the characters

ads, but my friends were all working on a sketch

live in, how they see it, and then what we want the

comedy TV series and I really thought that would

audience to know about that character. It can all

be more fulfilling even if I struggled with the bills, so I went back to play in that world and have been freelance again ever since (it was actually

be communicated so clearly within a frame if the right pieces are put there.

just across the carpark).

What jobs have been the most inspiring and enjoyable so far? Why? I would say any of the jobs with my best mate and other set of hands Jess Horan. We met on a job I was first ad/stage manager on (I've lived many years in low budget world and almost every job you have a slash, this was a docuseries about high school drama departments putting on a show). I was apparently rude to her (which I can not recall) but a year later we met again both in the art department on Head High. We legitimately hit it off this time, and she agreed to jump on board the second series of TVNZ's improvised comedy Educators with me, and then for the last three years we've been on a big ride of low budget jobs where the team was often just her and I, or thankfully other times we have had the luxury of team members, but with Jess and I leading the charge.

The reason I'd say this is enjoyable is the way we work. The jobs we have done together have largely been either no money or no time (or both) but all hope, and we somehow manage to have fun while doing it, and really caring about the work we do and each other.

Jess really gets it, and when you work so closely and intensely together handling not just the creative but the logistics you develop all different kinds of shorthand, common knowledge and shared brain to the point where you can absolutely trust each other on both good and bad days. We also don't just work as a duo, and have times apart on different jobs, or when we switch it up and it's me working with Jess on a job she's designing.

I think relationships are core to any job and interpersonal management is something that is in my opinion severely lacking in screen industries. No one ever goes to team leadership courses or HR training like they do in most other

I'm really strict with myself, and therefore

industries if you have a management role, and

people working with me, that we don't make any

even on these fly by night low budget productions

NZTECHO Autumn 2023 | 27

I take being an 'HOD' seriously. Having had a fair share of bad experiences on several sets and jobs, Jess and I made it a goal to have a really strong sense of being a team and supporting each other, especially when other people join us. This is what for me keeps the work enjoyable, beyond all the things I could say about how much fun it is to nail a character's funny office mug (see EDUCATORS), or the satisfaction of managing to fully dress an empty house with two people and still be carrying in furniture as the first day turns over but have every piece of the character's life make sense (The Pact). I will add - it becomes more enjoyable the more people you have and the ability to share the work - I'm trying hard to not just 'graduate' from those kinds of jobs, but to gently push back and change the way that that has worked so far.

Arts in Directing and Writing for Screen and Theatre, from Unitec in Auckland. That remains my dream job in a sense and I have directed odd bits here and there, but it's important to me that Production Design doesn't become a sideline. It's not just a source of income for me, or something I'm doing "until". I'm deeply passionate about it so a dream for me in that regard would be working with larger budgets, more time, and also designing a film.

As well as someday pulling my own film together as a director/writer, or designing one, in ten years I'd love to be running a little company where I can work on design heavy content while trying to streamline my ten several hectic design studio ideas into a working business.

I'm managing to move more into this sector with some advertising and studio based shoots both in my pocket and others in the future. A lot of the work I have done so far has had limits of location based shooting and on a budget so the ability to really 'design' space to a full extent is still a treat when it is offered up like a talk show pilot i did last year, or the talk show I'm currently designing to be released later this year.

I love working in the creative industries in so many different capacities that this question is incredibly difficult. I guess in ten years the main thing I'd like is to be sitting behind my beautiful glass desk in my Prussian blue office full of white leather furniture with a workshop next door and a few jobs on the go. This would be the main change I hope for myself - I'm sick of working from my spare room and garage, it's a bit gutting how expensive it is to have your own little space somewhere to throw props and paint around.

What do you hope and expect your membership of the Guild to do for you, and what can the Guild do for the industry?

I joined the guild to try and become a more

What would be your dream job or career active member of the film industry community. path in film? Where would you like to It sometimes feels like the world I inhabit is very be in another ten years or so? different to the one that others in the industry I left school with the ambition to direct and

write, and got myself a lovely certificate saying that I have a Bachelor of Performing and Screen

live in, or that you might think of immediately when you think 'FILM INDUSTRY' in capital letters, the large international jobs, shows with an

28 | NZTECHO Autumn 2023

army of trucks and workshops and people who get to work on the same show for a long time and with a large number of people. I don't think it needs to feel that way, or feel any different. The idea that there is a collective I can be a member of and go to for guidance, have a copy of the Blue Book, and connect with on a professional and network level opens up the industry to me in ways that I don't think I'd really clocked. I think what the Guild can do for us is to keep us informed and be a central hub for information the kind of information we don't go looking for as we're often still just stoked to be a part of the magic part of film making that we forget that it's an industry and we are people with needs and more importantly, rights and livelihoods!

I also joined to try and ascertain an answer to the absolutely burning question - on a shoot where there is no FX budget or line for a person to run it, should the one art department person who is doing a million things already really be the one to hire, pay for and operate a hazer - if it's not their call on when and how and if we should use it? (makes you think...?)

NEW MEMBERS Join us in giving our new members a warm welcome!

Nathaniel Moody: Auckland – AD Hamish Bruce: Christchurch – Art Paul Abbott: Auckland – Lighting Bridie Campbell: Auckland – Camera Morne Van Tonder: Auckland – Stunt Daniel Jackson: Auckland – Stunt Nathan Hodson: Auckland – Art Andrew Fabling: Auckland – Sound Bruno Noonan: Auckland – AD Laura Schneemann: Auckland – Costume Julian Herrara: Auckland – Camera Martin Le Breton: Welllington – Camera Richard Schuler: Auckland – SFX Isis De Souza: Auckland – Stunt Francesca Logan: Christchurch – Camera

NZTECHO Autumn 2023 | 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 Christian Gower 021 139 0435 Wellington chair Sally Cunningham 021 157 6589 Christchurch chair Wayne Allen 0274 451 113 Queenstown chair Zac Beckett-Knight 027 427 8252 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.

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