FEBRUARY 2011 NZ’S SCREEN PRODUCTION INDUSTRY MAGAZINE

ONFIlM.CO.NZ

Paul MurPhy’s new feature, Love Birds, which stars

rhys darby, Plus our salute to nick grant, a Photo of his

rePlaceMent, an interview with four’s jason Paris, an

in-dePth look at hire shoPs, and Much, Much More.

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3www.onfilm.co.nz february 2011

february 2011contents

The contents of Onfilm are copyright and may not be reproduced without written permission. © 2011: Mediaweb LimitedWhile Onfilm welcomes unsolicited contributions addressed to the editor, no responsibility can be accepted for their return unless accompanied by a stamped, addressed envelope. all letters addressed to Onfilm will be assumed to be intended for publication unless clearly marked “not for publication”.

Subscriptions (one year, in $NZ): NZ $78.15 incl GST, australia $115.50, rest of World $160. ISSN 0112-2789 (Print), 1176-8436 (Online)

Volume 28, Number 1 Est 1983

Acting Editor: David Gapes (editor@onfilm.co.nz), 021-596-686Contributors: Doug Coutts, Peter Parnham, Philip WakefieldAd Manager: Kelly Lucas (admanager@onfilm.co.nz) 0-9-366 0443Production Manager: fran Marshall Designer: Cherie TagaloaNew Subscriptions: www.onfilm.co.nz/subscribeSubscriptions Enquiries: subs@mediaweb.co.nz, 0-9-845 5114Pre-press and Printers: benefitz

Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data book. Mediaweb Limited, PO box 5544, Wellesley Street, auckland 1141Phone 09-845 5114, fax 09-845 5116Website: www.onfilm.co.nz

12

COVER: Rhys Darby as Doug in a scene from feature film Love Birds, which is released nationwide on 24 February.

16

108

24

Views4 The more things change,

the more they stay the same Doug Coutts welcomes you to David’s world; and cartoonist Andy

Conlan contemplates the mysteries of the film-making process.

5 Thanks, Nick Mediaweb chief Toni Myers salutes outgoing Onfilm editor

Nick Grant, and welcomes his replacement, Steven Shaw.

6 Intellectual property Lawyer David McLaughlin writes about coming to grips with

the complexities of NZ’s copyright and trademarks laws.

7 Ozzie Ozzie Ozzie Our spy on the ground in Sydney, James Bondi, on the

Golden Globes and the Australian floods.

8 Bigger Better Faster Stronger Interview: Phil Wakefield talks Channel Four with MediaWorks

CEO Jason Paris.

10 Sound & Vision Martin Rumsby continues his series on New Zealand Film

Artists in Brief. This month he talks to leading inter-disciplinary artist, Philip Dadson.

12 Cover story Bird Watcher: Nick Grant debriefs Love Birds director

Paul Murphy.

Hire & Studio16 This side of the Tasman – Optomists With the Aussies hurting badly, what is the story here?

Peter Parnham asks the local hire specialists.

19 Outlook for 2011 – a Q&A In which Onfilm puts the big questions to the

hire & studio outfits.

24 Chasing a commercial rainbow Donny Duncan gives his thumbs-up to the new Sony F3 camera.

28 Production listings

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Plus ça change plus c’est la même choseSo, a new year and a new editor. Well, a different one, although the same one … Con-fused? Welcome to

David’s world.Mind you, it’s not as if things have

come full circle, more like a U shape where, at the moment we’re at the right-hand tip of the J. To complete the U, we’d have to wait a few years until Sue May was back in charge and the word “deadline” took on, for some at least, a sinister mean-ing again, with the emphasis on the “dead” part if it wasn’t met.

Back in 1990 when Mr Gapes first took on the job, the film industry was fresh and new. The Blue Book was something Harcourts’ real estate agents took an interest in, SPADA was a motley collection of movie wannabes sprinkled with a few actual achievers and the industry itself was largely run, and crewed, by a bunch of enthusiastic larrikins with a healthy disregard for the rules befitting the truly creative.

21 years on, things have changed markedly. The Blue Book has been joined by a pink one with both now a handy doorstop in most production offices, SPADA’s had a sort of name change and everyone’s older. Most of the larrikins have done a poacher-turned-gamekeeper metamorphosis but happily, still act like they’re one of the boys.

And the industry’s taken off. Sev-eral times in fact, usually (and, the industry hastens to add, coinciden-tally) when Sir Pete has another job

on. Okay, that’s not entirely true – the film industry is vibrant and moving ahead and everyone’s very busy – it’s just that they only get paid when Sir Pete has a job on.

A major change over the past 21 years has been a gradual increase in tak-ing a more organised and professional attitude to film-making . This has led to a two-tiered approach, known as “the capitalist model”, or “them and us”, in which the “trickle-down effect” applies to purported expertise, not wealth.

Speaking of expertise, there’s been a huge growth in training facilities over the years. Back in the 80s and 90s most film people had to graduate from a school of hard knocks – or Hard Knox if you were in Dunedin – but these days youngsters keen on a career as a direc-tor or DP can choose from a vast array

of schools, universities and polytechs charging equally vast sums.

According to one count, last year more than 300 comprehensively trained new directors and DPs graduat-ed from their courses and were eagerly snapped up ... by fast food chains, call centres and, for the lucky few, criminal drug syndicates.

There are other jobs for young people in the industry but, as in olden times, these largely involve driving DCR vans and wearing odd articles of clothing. Back then it was puffer jackets, these days it’s Sherpa beanies. Of course the RTs are much smaller, as are cellphones – but it’s still just as difficult not to look like a ponce when you’re using one.

The changes in technology have made it much easier for young people

to get ahead – in 1990 you would have needed a huge lap to make a movie on, but now even anorexics can balance editing, sound-mixing and distribution on their knees. Or they can just blog about how good they are without having to go through the irksome task of actually doing it. (Back then, lies on your CV were only read, and spotted, by a handful of people.)

So, in 21 years there have been many changes to the film industry – some have been good, some have been better. But in that time, there’s been one constant, one thing that has drawn people in and kept them there.

And that’s the notion that, no matter how dire things get, it’s still better than having to find a real job.

by doug coutts

www.aucklandactors.co.nz

W FT NZ

w w w . w i f t n e w z e a l a n d . o r g . n z

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5www.onfilm.co.nz february 2011

Publisher’s note

Thanks, NickNick Grant, editor of Onfilm for

almost 10 years, is a formidable wordsmith who acquired a deep industry knowledge over that decade. His dis-passionate dissecting of the industry’s issues and commitment to representing participants’ views have contributed hugely to informed debate.

He will be greatly missed but leaves a valuable archive of content plotting the screen industry’s significant develop-ments over those 10 years.

I’m pleased to say that Nick is not lost to us completely; he is commis-sioned to contribute articles for this and future issues of Onfilm and we hope that valued relationship continues. I’d like to offer my thanks to Nick for his commit-ment and dedication to the role and to the industry.

Editor of AdMedia and former On-film editor, David Gapes, stepped in as managing editor for a period while we secured and settled in incoming editor, Steven Shaw. The March issue will be Steven Shaw’s first and you can reach him at editor@onfilm.co.nz.

As a friend of Nick Grant’s (and

stand-in when the former editor took paternity leave) Steven is no stranger to the screen industry. He has a great deal of experience in writing about and for the creative sector and entertainment industry. He and partner Ana Samways launched their award-winning entertain-ment website, www.spareroom.co.nz, in 2006.

The publishing team at Mediaweb is greatly looking forward to working with Steven on some exciting initiatives. You will start to notice some changes in content and style as we strive to keep ahead of your information needs and deliver you a package of print and online content uniquely compiled to ensure you have access to the latest news and valu-able insights into industry issues.

Our new editor will be embarking on a programme of making contact with as many industry influencers and par-ticipants as possible over the next little while, and I’ll be joining him as much as I can. We’ll be canvassing your opinions on what’s most valuable in the maga-zine, and what’s not, and what you’d like to see on our pages and online.

So flick him an email to say hi or give him feedback; we all appreciate you taking the time to tell us what you like, or not, what you agree with or other-wise. We try to publish all letters if the writer is identified.

No one chooses a career in the crea-tive sector as an easy option. Government support and funding options wax and wane and the only certainty is that most projects will struggle to secure the resources they need.

But few industries engender the passion, the willingness to forgo a reasonable income for sometimes years at time, as the creative sector.

And it’s gratifying at last to see the gen-eral population start to identify culturally with

the performing arts to the same degree as it once did with rugby. Witness the emotions whipped up – admittedly by complicit media – during The Hobbit-union stand-off last year. Not a great example of the nation pulling together but evidence nevertheless of the stake all New Zealanders feel they have in a successful screen sector.

That we’ve possibly finally shaken off the cringe factor in putting our Kiwi cul-ture up for examination on the big and little screens – with significant success especially relative to our population and resources – is something to celebrate.

We owe the industry pioneers – those who persevered in a time when there was no support, no infrastructure and all they had was vision and passion – a great deal.

So thanks and farewell – but not completely – to Nick, and hello and wel-come to Steven. I look forward to sharing the next phase of Onfilm magazine’s journey with you.

Toni Myers Publisher

Andy Conlan’s view

P.O Box 8068, Symonds St, Auckland 11509A Akatea Rd, Glendene South, Auckland 0602

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Trade marks are incredibly important for anyone creating or running a business in the film and television industry to get to grips with, as David McLaughlin explains.

Trade Marks – Part 1

A legalview

In previous issues of Onfilm we’ve considered intellectual property

issues by way of discussing copyright and the wide-ranging ramifications that this type of intellectual property has for anyone involved in the film and television industry. In this edi-tion of Onfilm we will be considering another type of intellectual property that is also very important, namely trade marks.

A trade mark is essentially some-thing which is used to distinguish the goods or services of one person or business from another. Trade marks most commonly come in the form of brand names or logos although in practice a trade mark can even exist in the colours, smell, packag-ing or music associated with a good or service.

Examples of well-known trade marks would include the word ‘Nike’ as used by the well-known international sportswear manufac-turer, as well as the Nike ‘swoosh’ symbol which is used on all Nike clothing. The name ‘McDonald’s’ in relation to fast food restaurants as well as the golden arches symbol used by the McDonald’s restaurants are other examples of well-known trade marks.

Any person or business that pro-duces goods or services for supply to others needs to think carefully about what particular trade marks they are using and the extent to which they should go to protect these trade marks.

Trade marks basically protect the value of the reputation that someone has built up in the goods or services they supply. This reputational value is often referred to as ‘goodwill’. Many international brands invest millions of dollars in building up recognition of their brand through high profile advertising and market-ing. However you can equally come to establish goodwill in your own goods or services just through the normal course of operating your business. This essentially happens if over time people come to identify some inherent positive quality in the goods or services that are branded with your particular logos or busi-ness name.

In the film and television industry, trade marks also become important to consider from the perspective of any written or visual works you cre-ate. For example, on a world scale you need only look at the value in say the Spiderman, X-men or Lord of

the Rings film and associated en-tertainment franchises to see

that where possible, pro-tecting the identity

of unique charac-ters, films, TV

series and even towns or mythical

worlds that you create can be an incredibly financially

rewarding exercise.

Indeed if you have a successful film or television production, mak-ing sure that someone does not try to copy or misrepresent the key char-acters or trade-markable elements of your work should be a high priority for you.

Such undesirable activities can deprive you of income; eg, people buying someone else’s merchandise or seeing a new production because they wrongly think it is connected to your original work, but it can also affect the value in your ‘brand’ over the longer term.

For example, where someone starts making poorer quality mer-chandise or incorporating trade markable elements of your original creations in their own productions, then someone who purchases or views one of these other products thinking it is yours and has a bad experience may not in the future support your characters or productions.

Once you begin to realise the value that exists not only in your business brand but also the branding of the productions and the various trade markable elements comprising these that you create, it becomes easier to see the importance of managing and protecting these. It is here that trade marks prove vitally important.

There are essentially two types of trade marks. Registered or Unregis-tered. A registered trade mark is a trade mark that has been registered with the Intellectual Property Office of New Zealand (IPONZ) (www.iponz.govt.nz) and is therefore re-corded on the trade mark database maintained by IPONZ.

An unregistered trade mark is a trade mark whick, although it may be being used by someone, is not a trade mark that has been formally registered with IPONZ. In New Zea-land a registered trade mark will be followed by the symbol ® to indicate its registered status. The symbol ™ on the other hand can be used after an unregistered trade mark to indi-cate that although it is being used as a trade mark and you assert your ownership in this brand, the trade mark itself has not yet been formally registered.

By law you can only use the ® sym-bol once your trade mark has been formally registered with IPONZ.

In the next issue of Onfilm we will be continuing our discussion of trade marks and more specifically will be considering the advantages of formally registering your trade marks as well as some of the restric-tions on the types of trade marks that can be registered.

• David McLaughlin (david@mclaughlinlaw.co.nz) is the principal of McLaughlin Law (www.mclaughlinlaw.co.nz).

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

Got a legal issue you’d like examined in an upcoming column? Then email David McLaughlin (david@mclaughlinlaw.co.nz).

PO Box 78-131, Grey Lynn, Auckland, New Zealand.Ph: +64 9 378 9016.Fax: +64 9 378 9018.Web: www.kractors.co.nzEmail: kathryn@kractors.co.nz

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Kiwi expat spy James Bondi runs his idiosyncratic eye across the Aussie film & television industry.

AcrosstheDitch

A ustralians are proud of their

actors. The top names enjoy the same recognition and status as the

country’s sporting stars. Twenty years ago you could count the number of Aussie thespians working interna-tionally on the fingers of one hand. Now all the digits on all hands and feet aren’t enough, even if you take your socks off.

There were four Aussie acting nominations in this year’s Golden Globes, though no prizes: Geoffrey Rush for his star turn in The King’s Speech, Nicole Kidman for Rabbit Hole, veteran stage actress Jacki Weaver for her sensational rendition of a crime family matriarch in Animal Kingdom, and Toni Collette for the TV series United States of Tara.

While most Aussie stars continue to work and live here, some of the time at least, it is big international projects that bring them the recogni-tion and the money. A steady stream of young actors makes the pilgrim-age to LA in the hope of picking up work, now that lots of US producers know that the Aussies have good teeth, tans and talent – and can do authentic US accents. It’s a long way from when Paul Hogan told them what a knife really is.

The career path for many drama school graduates now is to get a couple of local films or TV shows on

their résumés and head across the Pacific – the National Institute of Dramatic Art, the top Aussie drama school, even has an LA office!

Speaking of Paul Hogan, he is talking of suing the Australian Tax Office for falsely accusing him of tax avoidance. They spent millions of dollars over five years, in what often seemed like a witch hunt (“That’s not a tax bill – this is a tax bill”).

Last year when Hoges returned to Australia for his Mum’s funeral the ATO used some arcane law to prevent him from leaving the country. Hogan frequently visits his home country from the US to see family and to work. He has friends, grandchildren, and property and has shot two movies here recently – hardly a flight risk!

He’s probably done more than any other filmic Aussie to put this country on the map, and deserved a bit better than the treatment dealt out to him by bureaucrats intent on bagging a high-profile scalp. The case has now been dropped.

The devastating floods in Queensland and Victoria have

dominated the media and the national consciousness in recent weeks. All channels carried live coverage, the best coming from Sky News presented by journalist and “chick lit” novelist Jacinta Tynan, and Channel Nine’s Leila McKinnon, granddaughter of well known Kiwi journo John “Black

Jack” McKinnon and wife of Channel Nine CEO David Gyngell.

We sat glued to heartbreaking images on the box. Queensland Premier Anna Bligh was an inspiring leader throughout the crisis. In her regular TV conferences she kept Queenslanders informed, held noth-ing back, showed genuine emotion and sympathy to those affected. She was truly inspirational … what we want and expect from pollies but so rarely get.

The images of destruction will stay with us, and the cleanup will take months. Thousands of homes are destroyed and the streets are covered with mud the consistency of glue. Thousands of hectares of crops are ruined. Poor bloody farmers: years of drought, then rain at last, and the first crops are ready for harvest, only to be washed away by floods. It’s a harsh country. Bush fires and drought one year, torrential rain and floods the next. Oh, and plagues of locusts in the interim!

They might be lousy cricketers but Australians know how to bounce back from real adversity. They get plenty of practice.

One side effect of the floods, which fascinates me as a Kiwi, is the proliferation of snakes seeking dry ground… too bad if it has to be your front porch. Images that stick in my mind were a coiled snake on a piece of polystyrene foam hurtling down the river, accompanied by a small

lizard (his lunch?) running around in circles … and the brown snake swimming along in the torrent with a small frog perched on his back (another takeaway lunch?). Call me a wuss but I’ll never really get used to the presence of snakes. It’s always a treat to come back to NZ and walk barefooted through long grass!

Food prices are set to soar, and it will be a while before the drowned farms can replant. The supermarket chains that control 45% of fruit and vegetable sales, are even relaxing quality specifications and selling “ugly” fruit: produce that has been rain damaged, to keep the shelves stocked and to support Australian farmers.

Screen Queensland CEO Mau-reen Barron says the organisation is trying to ascertain if any Brisbane based productions have been af-fected by the flood and will lend assistance if required. The major Queensland based production facilities on the Gold Coast were unaffected.

Open cast mines have filled with water and much of the rail system in Queensland is damaged, so even if the mines were functioning there is no way of getting coal and ore to the ports.

Drawing a long bow, maybe this will affect our exports, the dollar will drop against the greenback and we’ll see US filmmakers returning to our shores. Maybe ...

by JAMEs boNdI

Views

7www.onfilm.co.nz february 2011

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8 february 2011 www.onfilm.co.nz

Making MediaWorks TV bigger better faster stronger

by Philip Wakefield

M edia and ad agencies will be keen-ly scrutinising this month’s new

season viewing figures as for the first time MediaWorks and TVNZ go head-to-head for the same demographics.

Traditionally the free-to-air giants have carved up viewership to score com-plementary ratings: TV3 has targeted 18-49 year-olds, TV One 25-54 year-olds and TV2 18-39 year-olds.

But as of Waitangi Day, TV3 is focus-ing on 25-54 while its sister channel, Four, has been relaunched as a main-stream entertainment network with

18-49 year-olds in its sights.Driving the strategy is new Media-

Works TV chief executive Jason Paris, who joined the company last year after four years of shaping TVNZ’s digital game plan. “You need to give us a few months to get the plans in place, the new season schedules and the brand roll-outs,” he says. “The first three to six months are when we should look to see if TV3 and Four have been able to deliver.”

While Four’s reinvention has been dramatic, changes to TV3 will be

incremental. “We’ll be playing to our core strengths,” Paris says. “News and currents affairs, Campbell Live, shows like Grand Designs and 60 Minutes, are very important for us because they target 25-54.”

For that reason, he expects com-missioning to be business as usual. “Our commitment to news and current affairs and to local programming is as strong as it ever has been. We’d look to commission the same number of hours as we did last year.

“Most of our local shows are all about broad appeal. So even if you look at New Zealand’s Next Top Model or 7 Days, although 25-54 will become an increasingly important demographic for us, they’re very mainstream shows that attract a wide number of people across all demographics. “So our commitment to local shows will still be about attracting as much possible audience across as many demographics as possible.”

Paris says the changes are a “direct response” to advertiser and agency demands. “Most of the advertising is placed against 18-49 and 25-54 demo-graphics. We moved C4 to Four target-ing 18-49 and given the aging demo-graphic population, and the older you get, the more news you watch, it made sense, with news being one of the most important strategic assets we’ve got on TV3, that we make a subtle change in demographic to 25-54 from 18-49.”

But is New Zealand a big enough market for three networks to chase the 25-54 advertising dollar? “The last couple of years TV One really hasn’t been performing as well it should be,” Paris argues, “and has been having declining brand and audience profile. And Prime for me is still an off-peak kind of niche channel.

“When you have New Zealand’s only full-service channel in Three targeting a 25-54 demographic, with a full line-up of comedy, drama, news and current affairs, entertainment, we think it’s a big, significant opportunity for us to

grow audience share at the expense of other channels targeting the same demographic …

“TV3’s already been competing very well in the 25-54 demographic, so we don’t see it as a significant change at all for the channel.”

But it does mark the first time Me-diaWorks has had a strong two-channel strategy in the marketplace. “It’s a real opportunity for both Three and Four,” Paris says. “C4 was a very strong brand but was a niche youth music brand and there’s just not enough of an advertis-ing market for that type of content and audience.

“So it was a simple decision to make Four more mainstream: keep what’s working – Thursday night’s animation line-up – bring in some hot new shows from our international output deals, and bring in a few shows from Three that have been working well on Three but might be a better fit on Four: The Simpsons, NZ’s Next Top Model, Top Chef: Just Desserts … big brands that might drive new audience across to Four.

“And what that does is free up some opportunity for us to make a few changes with brand positioning with Three and new line-ups.”

Paris argues some of his more con-troversial changes – notably closing 60 Minutes’ Wellington bureau – are about “controlling costs” rather than cutting costs. “Costs for us are not an issue. I was brought into this business because I’m a growth guy, not a cost-cutting guy. My view on the MediaWorks business is we’re always looking at ways of doing things more efficiently …

“We’re still committed to same number of 60 Minutes shows this year as last year. But there has been some cost control on 60 Minutes. MediaWorks is a commercially focused organisation, so you’re always looking at how you can drive revenue up and costs down. As a prudent commercial organisation, you’re always reviewing costs to see if you can do things better.

“And when we think there are op-

Interview

Freeview advertising more valuable than Sky: MediaWorks CEO Jason Paris.

9www.onfilm.co.nz february 2011

portunities for us to make cost reduc-tions or reinvest money in other areas, then we’ll do that. It’s not about our having a lesser commitment to news and current affairs – it’s as strong as it’s ever been.”

He says there are no plans to roll Campbell Live into the 6pm bulletin and he’s even investigating resurrecting a breakfast show in the wake of Sunrise’s cancellation. “That is an opportunity for MediaWorks in the marketplace. I can’t talk about when we would like to do it but it is something I’m reviewing and looking at.

“If you look internationally and in New Zealand, morning television is one of the biggest growth areas for viewership. And so if we’re looking at attracting more viewers for our advertisers and agencies, then the morning time slot is something you would consider.”

Paris says a decision has yet to be made on whether to make Four a high-definition channel, like TV3 and its rivals, or to use the spectrum to launch new channels, such as Tv3 +1.

“Plus One is going really well. We’re getting an extra share point from Plus One every night, which is not an in-significant result. Internationally, Plus One channels have performed pretty well and we’re pretty happy with that in the New Zealand marketplace.

“Obviously it’s a cost-effective chan-nel to launch and given the fact people, especially in the metro market, struggle to get home to watch news and current affairs, having a delayed Plus One has been a good opportunity for us.”

While MediaWorks only has the free-to-air capacity for one more chan-nel, “there are plenty of opportunities for free-to-airs to launch new channels if they want to partner with Sky”, Paris says. “And my view on that is that’s inevitable and that Sky will become an important partner for MediaWorks.

“But I’m not sure if it’s smart to partner with Sky before the digital switchover [in 2013]. I think when DSO comes, we want as many people to be going with Freeview as possible, because a Freeview home is much

more valuable to us than a Sky home from an advertising perspective.

“I’m not sure that launching new niche channels into a marketplace of only four million people is always the most sensible thing to do. Sometimes, rather than improve the quality of the programming you have access to, it weakens it and spreads it across more channels and you just get more repeats. So I’m not sure if it’s a smart thing to do from a viewer perspective.

“And it just dilutes the advertising market sometimes, too. So I wouldn’t want to see too many more new chan-nels launched into the New Zealand marketplace because it just spreads the advertising dollar across more channels.”

Partnering with Sky TV would make sense as part of a revenue diver-sification strategy, Paris says. “If you’re launching channels on Sky, sure there’s an opportunity to drive advertising rev-enue but it’s more of a partnership on a subscriber revenue basis rather than an advertising business model.”

In the meantime, his focus is on Freeview penetration. “Freeview is an important initiative for free-to-air broadcasters. As DSO gets closer, we will be working very closely to ensure as many homes are Freeview homes compared to Sky.

“But as TVNZ has demonstrated by launching Heartland on Sky, there are opportunities for pay-TV and free-to-airs to collaborate to the benefit of both.”

If Four does go HD, Paris would want to launch the service on Freeview. “Freeview as a brand needs as many ad-

vantages as it can get heading into DSO, and if launching Four on Freeview in HD first, before the Sky platform, was something of benefit, then we’d prob-ably look at doing that.”

As to expanding Freeview’s HD coverage beyond 75% of the country, Paris reckons the Government should pick up the tab for this. “Broadcasters have been making a contribution to [digital terrestrial television] distribu-tion for quite some time and if you look at what Government’s going to get from a digital dividend, we believe some of those funds should be reallocated into extending DTT coverage.”

Paris also wants MediaWorks’ digital ambitions to rival those he helped to realise for TVNZ. “Since 2007, Iron-bridge, as owners of MediaWorks, have made a reasonable investment in their digital strategy and that will continue.

“They’re a private equity company that will exit at some point and a strong digital strategy and ensuring this busi-ness is well positioned in an ultra-fast broadband world will be an important part of ensuring a premium for this business.”

Internet Protocol TV also is on Paris’ radar with the Government rolling out ultra-fast broadband. “The challenge in this environment is no one’s really focused on what the end user is going to want,” he says. “There has been a lot of talk about ‘the pipe’ and getting it in the ground, not a lot of focus on what types of content and service should be delivered over that pipe.

“And I think increasingly a number of companies are starting to go, ‘How can we make the most of this broad-

band opportunity?’, and we’re one of them. But we haven’t landed on any specific initiatives yet.

“We need to think about the next 12 months to make sure we’re best po-sitioned for uptake as ultra-fast broad-band is rolled out and IPTV services become more popular.”

But Paris is not concerned about the impact broadband is having on the downloading of TV shows that Media-Works licenses, arguing people have to be “reasonably technically savvy” to view this content before it goes to air. “And if you do go to the trouble, generally you’re a massive fan of the show who’ll watch it again on free-to-air.

“Also, from a social perspective, you’re seen as bit of spoiler by friends who haven’t watched it online. Most viewing is more of a shared experience. A lot of shows you might think attractive to download before watching on TV, like Glee, are a lot of shows people want to watch together.”

While TV3 and Four, through a com-bination of canny commissions, like The Almighty Johnsons and Bigger Better Faster Stronger, output deals and restructuring, have their strongest schedules ever this year, Paris expects a tight advertising market for the first half.

“MediaWorks, TVNZ and Sky found the market [late last year] more de-pressed than we expected it to be. But we’re seeing some pick-up and market confidence coming back, and with the election and Rugby World Cup in the back half of the year, along with an economy that’s hopefully starting to improve, we’re hoping it will be sustain-able into 2012.”

He sees the economy as the biggest challenge facing FTA broadcasters. “We’ve spent the last six months getting our shit in really good working order. We have identified the strategic oppor-tunities for us in the marketplace.

“Over the next six to 12 months we’ll ensure all of those are actioned and then it comes down to riding the wave of an improved economy and making sure the advertising market follows quickly behind and the revenue flows in the door.”

We need to make sure we’re positioned for uptake as ultra-fast broadband

rolls out and IPTV services become more popular.

2011AUCKLANDAUT - 25TH - 27TH FEBRUARYRegistrations at www.documentaryedge.org.nz/forum(student rates available)

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2011AUCKLAND 16TH FEBRUARY 6TH MARCH EVENT CINEMAS (NEWMARKET) ACADEMY CINEMAS (CBD)VICTORIA PICTURE PALACE (DEVONPORT)

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on_film_7x21.5.indd 1 26.01.2011 14:27:30

10 february 2011 www.onfilm.co.nz

sequence ended when the camera froze up.

Breath is a black and white two-monitor work that captures the pulse of a birth and a death. Triad Four features the projections of ears onto the two sides of a suspended bass drum, and was later recontextualized as a larger four part video/sound installation titled Conundrum Quartet (2000). Dadson also collaborated with filmmaker Gregor Nicholas on two films – Drum Sing and Pacific 3,2,1,Zero – cinematic records of From Scratch in performance.

Whilst on a Fulbright Scholarship to the United States in 1991 Dad-son made Soundstories#1 (Meetings With 14 Experimental Instrument Builders). Additional sound and video works include Physical (1976),

Uncharted Crossing (1980), Maya, Reso-nance 2 (1994), An Archaeology of Stones (1995), Global Hockets (1999), Confer-ence of Drums (2000) and Three Short Films (2000) and the impressively choreographed video wall Footstep Hocket (1990).

From 2003 to 2005 Dadson worked on a series of video/sound works titled Polar Projects, comprising Echo-Logo, Aerial Farm, Stonemap, Flutter, Terra Incognita, Arc, Chthonian Pulse, and Stone, Water, Air, Ice – drawn from his artist residency in Antarctica in 2003, almost as camera meditations on Eden.

In 2008 Dadson produced the de-lightfully nutty Breath of Wind depict-ing uniformed brass band musicians playing a mournful tune as they drift above a landscape in hot-air balloons.

A metaphor possibly for the loneliness and isolation of contemporary life.

Also a composer and performer of new music, Dadson’s CD releases in-clude a collaborative series with From Scratch: Drum/Sing, Hung Ho 1,2,3D, Pacific 3,2,1,Zero: Parts One and Two, Songs for Heroes, Eye-Drum, Global Hock-ets and a more recent solo release on Atoll, Sound Tracks (2004) – a series of innovative improvisations with home-made instrumentation and voice.

Currently Dadson has a video and digital still exhibition titled Worldup-sidedown at Starkwhite in Auckland (February-March) and a commission for an experimental film project curated by Mark Williams and sched-uled for the 2011 NZ International Film Festival.

By Martin Rumsby

NZ film artists in brief – a series Philip Dadson

A founding member of Alternative Cinema, the Auckland Filmmak-

er’s Co-operative in the 1970s, and the music-performance ensemble From Scratch, Philip Dadson has since estab-lished himself as one of New Zealand’s leading inter-disciplinary artists.

His early films include Earthworks (1971), Breath (1976) and Triad Four (1981). For Earthworks, on which film-makers Leon Narbey, Ib Heller and Ge-off Steven assisted, Dadson collected sounds and photographs that artists had recorded at various spots around the planet at 1800 hours GMT on the equinox of September 24, 1971.

He then edited these into a 360 degree camera pan filmed on the Rangipo Desert on the North Island’s volcanic plateau also at 1800 hours GMT on September 24, 1971. The

Views

Photo: Camilla Dadson

Interdisciplinarian: Philip Dadson.

Contact: John Bicknell from In Motion Distributors on 027 270 7206 | Email: john.bicknell@motionfilm.co.nzOr Grant Ford on 09 414 0406 I Email: grant.ford@fujifilm.co.nz I www.fujifilm.co.nz

12 february 2011 www.onfilm.co.nz

Bird watcherDirector Paul Murphy talks to Nick Grant about, ahem, getting all his ducks in a row to make Love Birds, his second feature.

How did you get involved with the project?Nick Ward, who I’d worked with on Second-Hand Wedding, contacted me and said, “Look, I’ve got this idea for a film that you might be interested in, about a man and a duck.” And I said, “You might have to write some-thing down, Nick, I’m not quite get-ting it from the pitch.” [laughs]

But I was sold at that point, in a funny way, because I know Nick’s forte is developing ideas and char-acters that are funny and interesting. So he went away and started writing, and next thing he contacted me and said, “Look, I’ve also shown it to a producer friend of mine, Mat-thew Metcalfe.” Matt was involved with Nick in The Ferryman, and had also just recently done Dean Spanley, which I thought was a lovely little film.

I met up with Matthew when we were over in Cannes trying to sell Second-Hand Wedding in the market-place. And when I saw the script Nick delivered I went, “Yeah, we can make a great film out of this”, and we sort of moved on from there.

So this film only took a couple of

years from go to whoa – that’s very quick.Oh absolutely. Feature film develop-ment can take a really long time or a short time, it depends on a couple of things – how aggressive the team is in developing it, and also what sort of film it is. A romantic comedy like this, I guess, doesn’t require as much depth as some more dramatic films might, although you still have to go through the same beats, and make sure the characters are true and their emotional paths are correct and that the story makes sense, you know.

So there’s an opportunity to may-be get it out a bit quicker than some more complex pieces. Although these sorts of films do have their own set of complications.

Romantic comedies are really de-manding in terms of structure and so on, aren’t they?That’s right, there’s a set of rules that you generally have to at least base your story or script around, or else you won’t be meeting the expecta-tions of the audience.

Presumably Icon Entertainment International came on after you’d

Interview

Rhys Darby (centre) confers with director Paul Murphy (left) during the shoot.

Winging it: Director Paul Murphy ponders his next move.

13www.onfilm.co.nz february 2011

secured your key cast and crew?No, actually, Icon was on board much earlier than that because Matthew did an incredible job right from the beginning of putting to-gether a package it was very difficult to say no to.

One of the things that Nick did that both Matthew and I raised our eyebrows at initially was he wrote the music of Queen into the script. We were like, “Oooookay Nick, that’s a big ask…” [laughs] But, interestingly enough, it wasn’t.

Matthew – and I imagine Alan Harris, the other producer, who was also involved – basically went over, showed the script to Queen and asked if we could use their music. And extraordinarily, they agreed. Once we had them on board, it be-came very easy to attract Icon into the fold. And then we started to discuss who our cast would be, be-cause that was the other commercial element they were very interested in. So it was in collaboration with them that we locked down our cast.

Rhys Darby was one of many op-tions that were thrown up, and the most appealing thing about him was obviously he’s funny, he’s a Kiwi and

he has an international profile. So he served all our purposes really.

The only thing we needed to con-firm was the standard of his acting, because I hadn’t seen him do any-thing on a dramatic level before. So we had a chat with him early on and went through a couple of things and I went, “Holy shit – this is fantastic!” It confirmed to me that he was able to deliver on what I was hoping to achieve with that character.

It was also really important that we got on personally, because part of the thing with actors is gaining their confidence and having them trust and be relaxed with you, so we sorted that out early in the piece.

Once I was happy, we moved forward and went and searched for a female counterpart for him.

Interestingly enough, even before we locked down Rhys I’d talked about that role with Tina Cleary, my NZ casting agent, and one of the first names she came up with was Sally Hawkins. And the gods looked down on us and we were able to get her on board.

Was her character written as some-one from overseas from the outset, with a view to increasing the film’s international appeal?Yeah, and I’d have to take credit for that. Early on in the piece I saw

the opportunity with that character to open the film up more commer-cially, so we wrote her in as someone who had come from England, which also helped her back story.

It’s always a fine line you walk, you know, but I’ve always believed that as a filmmaker, even at that writing stage, you need to keep an eye on how you can broaden the appeal of your film. And that was a great example of adjusting a little element of the script to give the opportunity to bring in a star from overseas.

You’ve got a very strong cast in terms of secondary characters, with the likes of Emily Barclay, Dave Fane and Craig Hall, and even with tiny walk on roles (eg, Sara Wiseman, Bronwyn Bradley, John Leigh). That must be really gratifying…?Yeah, look, it is. To me casting is 50% of the film, maybe more. Because half of directing is getting the right people and the rest of it is just giv-ing them the opportunity to do their best work.

Matthew and I initially raised our eyebrows when Nick

wrote the music of Queen into the script.

Continued on page 14

Photos: General Film Corp

Consulting the text: Rhys Darby (centre) confers with director Paul Murphy (left).

14 february 2011 www.onfilm.co.nz

I imagine there was a fair bit of im-provisation on set.Oh absolutely – I mean, you get an actor like Sally Hawkins and a funny guy like Rhys and there’s always trouble. [laughs] In the nicest pos-sible way.

One of Rhys’ skills is adlibbing and just changing it up and the most enjoyable part of that was Sally, hav-ing done a lot of work with people like Mike Leigh, was totally up for it. So if she or Rhys wanted to try add-ing something to a scene or taking something away, I was always happy to run with that.

Given your background as a grip, did you have strong ideas about par-ticular set-ups or camera moves you wanted for specific scenes? There were only a couple and most of them weren’t actually moves.

A lot of people think I’d use the camera movement more but it actually works in the opposite way – I actually move the camera less. I think the background in gripping if anything gives you the comfort of knowing when not to move the camera. [laughs]

There’s three specific reasons for the movement of the camera: gener-ally it’s for dramatic or positional reasons – you know, to make more of a scene by adjusting the camera to help the performance or chore-ography – and the third one is just to make the shot more interesting, which is the one I don’t use much.

What was the most challenging aspect of the shoot?I think it was the logistics. We had 20 locations in 35 days and they were all over Auckland. Given that we were at

two of the locations for a week each, that left 25 days for 18 locations, so it was pretty full on. What you’d nor-mally shoot out in two days we were shooting out in one day.

And because we only had Sally for the first four weeks of the seven-week shoot, all the scheduling had to ro-tate around her availability, so even though we were at her location for a week, we had to move in and out of it a couple of times.

So it was an incredibly rigorous schedule but I had a great team so we managed our way through it nicely.

What did you most enjoy about the production in general?I love being on set, that’s my favour-ite part. What you create with the actors and the crew in the moment – for me that’s gold.

Unfortunately it’s the shortest

part of the whole process – just seven weeks out of two years.

Did you have any test screenings?We had a couple of test screenings – one here and one in the UK. They were both very positive and gave us a lot of things we could use to make the film better and a good indication of who would watch the film and what our target [market] is.

So who do you see as the primary audience? I think the target audience is prob-ably skewed female 25 years-plus but I think the film has the ability to reach quite a wide audience. There’s no sex, drugs or rock ’n’ roll, there’s minimal swearing – I think the ‘s’ word is used a couple of times and that’s pretty much it. So it’s pretty much a film the whole family can see.

There’s no sex, drugsor rock ’n’ roll, and there’s minimal

swearing. So it’s pretty much afilm the whole family can see.

Bird watcherContinued from page 13

Interview

Box of bird: Rhys Darby with co-star Sally Hawkins and faithful wingman (in the box) in a scene from Love Birds.

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16 february 2011 www.onfilm.co.nz

This side of the Tasman: optimists

With the aussies hurting badly, what is the story here? Peter Parnham asks the locals.

I f you want to know the state of the screen production industry you

probably need go no further than ask-ing the infrastructure guys. After all, they have a better reason than most to make a sober assessment.

If they don’t want to come finan-cially unstuck, they must assess the abundance of future work as objec-tively as possible before they buy that new lighting truck, studio or camera.

They don’t have to just convince themselves with their own enthusiasm, more often than not they have to con-vince a professionally sceptical bank manager who wants the family home as a backstop.

If things do go pear shaped, the forecasting gains a new twist, becom-ing a risky game of seeing how long you can hang on for before bailing out.

If all this sounds like trying to sof-ten you up for some sort of sympathy for the little guy, well, it happens to the big guys too. Look no further than Australia where Panalux, the lighting division of the Panavision Group, is selling out in a move which will likely see a vast inventory of lighting equip-ment leaving the region.

The Wellington branch of Panalux – a warehouse full of lighting gear in

Miramar – is also going.In the Australian film industry, it is

seen as a symptom of a deep malaise when a company the size of Panalux decides it can no longer afford to hang about waiting for things to pick up.

On the heels of the announce-ment about Panalux in November, an online petition sprang up attracting over 9000 signatures. It pleads with Australian Prime Minister Julia Gillard to increase the Australian incentive scheme to re-attract international production.

“The lack of international produc-tion is having a devastating impact on our world-class screen production industry, dismantling infrastructure, skills and capacities needed to com-pete for high value international productions and seriously weakening our capacity to produce high quality domestic productions,” the petition reads.

“Many crew are already being forced to find work offshore.”

In a statement to The Australian, Ausfilm representative in Los Angeles, Tracey Vieira, said US studios were no longer looking at Australia as a film-ing location and inquiries were their lowest in five years.

Hire&Studio

The film industry in general is the land of opportunity: Neil & Catherine Askew.

17www.onfilm.co.nz february 2011

The petition blames Australian production incentives, which it says are no longer competitive, together with the high Australian dollar.

Martin Cayzer, the head of Panavi-sion Asia Pacific, agrees. “Last year for the first time in my memory there wasn’t a single international feature film shot in Australia,” he says, noting that New Zealand is finding it tough in this sector as well. “That has had a dramatic effect on our industry.”

“It’s largely driven by two factors: the Australian dollar is strong and there are very competitive tax in-centives from the USA, Europe and Canada.

“Panalux’s business model was to support large international produc-tions. In Australia and New Zealand local gaffers supply themselves and trucks onto the smaller jobs. It was Panalux’s business to support those gaffers with supplemental equip-ment and be the main supplier of the large international equipment requirements.

“A sustained high Australian dollar is going to have a long-term impact on our ability to attract international production unless we have a more at-tractive location offset incentive.”

Cayzer, who is responsible for New Zealand operations, believes this country is vulnerable to the same fac-tors. “The economic drivers are simi-lar, our incentives are similar, both our dollars are particularly strong and we are both historical locations for footloose production,” he says.

Panavision’s camera business is affected, but not as much. “We have got a very strong customer base in local feature films, television series and commercials which helps sustain us when international production is absent,” says Cayzer.

The high dollar has also hit the overseas commercial market. “This time of year in particular we would expect to see a large number of north-ern hemisphere commercials being shot in Australia and New Zealand and we have seen a substantial reduc-tion in that volume as well,” he says.

Australian studios are feeling the pain too, although two of the three large complexes can call on associ-ated theme park revenue for help.

Meanwhile New Zealand studios that cater to overseas productions are cautious. David Rowell, a partner in Auckland’s Studio West, says this time of year is normally the peak shooting season. “This time last year at Studio West we were leapfrogging shows, but this is one of the first years I can remember where there are no big features or US studio-originated productions shooting here.

“There are a couple of TV series, some domestic projects and a Bol-lywood movie, but it’s very quiet out there. We’re very thankful we current-ly have Power Rangers as tenants.”

Over the past 15 years the com-pany has weathered various business cycles and Rowell says that it helps to have a facility that is suitable for a variety of project sizes. But although it is optimistic about the future and has expansion plans for two new stages drawn up, the company isn’t laying the foundations for them just yet. “It’s part of the general dilemma for building studios. There are no guarantees. You don’t really want to do it when there is nothing going on. But we will need to be ready when the business returns.”

New studios are also planned by Auckland Film Studios, the company that is the joint local government and private sector entity that runs the Henderson Valley Film Studios site. Even the name Auckland Film Studios was adopted to allow for a vi-sion of expansion into other areas of the city without being limited by the Henderson Valley name tag.

Auckland Film Studios is ready to build two additional studios on the Henderson Valley site, says the company’s general manager, Kieran Fitzsimmons. “We have invested in the preparation for growth. Expansion is planned and all our consents have been issued. We’ve got everything in place and we are ready to go with the expectation that we’ll be able to move when a large production requires it.

“We will react to the market,” he says.

“You can’t forecast the demand, because of the type of industry that it is. You must be prepared for large productions as they come and go, and make the most of them at that time, while also looking after the lo-cal industry.”

He says overseas productions are absolutely vital to the health of the New Zealand industry. “Because the industry has grown to meet interna-tional production requirements, if we don’t continue with the level of international productions that we have been enjoying in the last three years the number of employees will exceed the amount of work available,” he says.

Fitzsimmons says not only do large international productions have bigger budgets than the local productions, they shoot for longer, too. Often they last for months while

commercials or smaller productions only last days or weeks.

“It is quiet at the moment,” he adds. “But we soon expect to start fielding enquiries for larger productions from the northern hemisphere.”

But not all studios depend on overseas shoots. Like other central city studios, Auckland’s Screentime Studio aims at local productions. Studio manager Michael Morris says the Auckland facility caters mainly for commercials.

He says the past year has seen the number of shoots remain more or less the same, but things are tighter. “We are seeing more half-day shoots as people tend to shoot more into a shorter period of time,” he says.

All the same, he feels positive about the future. “People are fed up with the term ‘recession’; they are wanting a bit of normality back in, even if there is nothing to economically determine it. They might just be tired of that men-

We would expect to see a large number of northern hemisphere commercials being

shot in Australia and New Zealand and we have seen

a substantial reduction in that volume as well.

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18 february 2011 www.onfilm.co.nz

tality when planning shoots.”Of course for many people in the

industry, once a studio is full, it’s a moot point whether the production happens to be labelled as overseas or domestic. What does matter is that Wellington’s film shooting infrastructure can be dusted off again for The Hobbit.

But even if you are not directly involved, overseas productions can still have an impact, according to Neil Askew of Redwood Industries. The Auckland company hires wardrobe and make-up vehicles, mainly to local productions.

“We may do well while The Hobbit is running because it may take up a lot of gear,” he says.

In many ways Askew is typical of a range of hire businesses that individu-ally operate on a smaller scale, but collectively provide a fair chunk of the industry’s infrastructure. “We are not large like Panavision – for us we have everything tied up in the busi-ness,” says wife and business partner Catherine Askew.

The two speak in tandem, finish-ing each other sentences. “If it goes pear-shaped we are not in a position

This side of the Tasman: optimistsContinued from page 17

to send everything back and go and get a job,” she says.

The pair say many gaffers and grips run similar size businesses, but with an important difference. “In some respects they probably find it harder because most of them are working on the job as well. When they are working they are earning more, but when they are not working it is costing them a lot more.”

There is another difference. Un-like most gaffers and grips that start young in lowly crew positions, they bought into the industry as a busi-ness proposition, buying five vehicles some seven years ago. But the vendor insisted that Neil spend some time in the industry before going ahead with the purchase.

“You fit in or you don’t,” says Cath-erine Askew. “So Neil started working unit on Mercy Peak for a few months to get a feel for it.”

“I started there as an assist and a couple of months later I was the man-ager because everyone else seemed to have just disappeared,” he adds. “It was very enjoyable and what I still enjoy is that it is very labour intensive

and you are working with a big cross-section of people.”

“It was about a year later we bought the next five vehicles,” they say. “We bought them from Australia when it all went belly-up over there. We got in very deep very quickly.

“We looked at it and everyone said why don’t you buy one or two vehicles but it wasn’t cost effective because five vehicles wasn’t enough to stand alone.

“A crystal ball would help a lot,” they say. “When we bought the sec-ond lot of vehicles we were told the film industry was on a three-year roll, and it turned out to be a three-month roll. It went dead and it just about sent us down the gurgler because we were misinformed.”

“So now we know to make our own decisions,” grins Neil Askew. “And that is still just a guess, but it is our guess, not anybody else’s guess.

“If you look at rental companies they need big numbers – so there is always something sitting in the yard,” he says. “We’re not quite big enough to be able to do that.”

A diversification strategy works just

as well for the small rental company as for the much larger Panavision camera company whose multiple rev-enue streams proved more resilient than the single-sector Panalux.

“If we were just make-up and wardrobe we wouldn’t have survived, I think,” says Catherine Askew. “We’ve gone into swing driving as well – mov-ing vehicles at night from set to set. We’ve got a team of drivers that go in like little pixies at night and move the vehicles around.”

“We had three and half months where we had every vehicle in the yard last year over winter,” adds Neil Askew. “It is the first time for three years we’ve had any sitting for that long. We are still trying to recover from that now, and I know produc-tion people who are still trying to recover from it as well.”

But for all the up and downs, the Askews reveal an optimism that keeps them in the business. “The film industry in general is the land of op-portunity – it doesn’t matter whether you’ve got cameras, labouring, or doing unit assist,” they say, “you can make out of it what you want.”

Hire&studio

Yogi Bear shooting at Studio West.Yogi Bear shoots at Studio West- productions like this keep the industry afloat say studio owners.

19www.onfilm.co.nz february 2011

ADVANCED HD VIDEO ASSISTDIT & HD DATA SERVICESSD VIDEO ASSIST - TVC & FILM

How has business been compared to last year?Michael Morris (MM), Studio Man-ager, Screentime: Slightly down.Nigel Burton (NB), DVANZ, Dig-ital Video Assist: Similar, but more driven as a result of ongoing invest-ments to find more clients to provide service to.Catherine Askew (CA), Redwood In-dustries: The slowest April-July we’ve had in years.Jenna Holmes (JH), Wireless Ware-house: Very similar.Janine Morrell-Gunn (JMG), White-bait TV: At a similar level and we are on track with revenue forecasts.Craig Booth (CB), Hirepool: A slow-er start to this year compared to last

year where a larger number of tel-evision series were filming. However there are a number of smaller local productions we are always extremely happy to support.Jocelyn Carlin (JC), Minnie Street and Windmill Road Studios: Same but different. For example this year the studio has accommodated an NZ based animation production company (Cirkus) shooting a series of TVCs for Telstra Australia.Adam Custins (AC), Kingsize Stu-dios: 2009 was the Year of the Reces-sion, and I suspect no one enjoyed that one. We feel very lucky to say that 2010 was a growth year, but in saying that, we worked very hard to fulfil all our clients’ needs.

Q&AState of the nation

Onfilm asked industry people to update readers about the pace of the economic recovery ...

Michael Morris (Screentime).

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Based on your knowledge of upcom-ing production activity, what are your expectations for your business in 2011?MM: Certainly no worse with the pos-sibility of growth.NB: Productions have so many choices for HD cameras these days and often the video assist systems are all different. We as video assist suppli-ers are asked more and more to fill in the gaps and be knowledgeable in all these HD options.Productions are working new cam-eras each year and often developing new systems. The level of production seems to have reduced from two to three years ago. TVC productions have reduced since this time, as well Michael Morris (Screentime).

20 february 2011 www.onfilm.co.nz

tion and the ever-changing face of technology, the expectation is more of these relatively small-crew, small-set productions will suit Minnie Street & associate studio Windmill Road.AC: Kingsize is prepared for 2011 to be quite robust. January 2011 saw a surge of work for almost all our clients, so we are optimistic this positivity will continue over the rest of the year.

Have you been able to invest in new gear/products during the past year?MM: Yes; we added WiFi and some new equipment for hire along with the studio.NB: QTAKE systems have been de-veloped and greatly accepted into the industry. A large 50K investment for the future.CA: We have concentrated on main-taining and upgrading what we have. There is a large capital outlay to put new equipment on the road for us and each time we look at doing it things go quiet and we are relieved we didn’t.JH: Yes.JMG: I believe that it is important to invest back into our infrastructure, each year we do this as a set percent-

age of the budget. Major purchases in 2010 included an upgrade to Avid HD which has been put through its paces on international commercials. We also purchased a video legaliser and have had 100% technical passes on all our work. Additionally the graphics work stations and software were all upgraded. A video server was also purchased for the Hornby Studio to control the 30+ flat screens on the What Now set.CB: After a couple of tough years with the global financial crisis and being left with a $300,000 debt from South Vineyard from the second half of 2010 we are back investing in new assets and businesses to continue our growth and product offering to the local film industry. This includes ac-cess machines, vehicles, generators,

and portable sanitation. Hirepool Port-A-Loo recently purchased an event business which added over 400 Port-A-Loos to the fleet as well as luxury toilet facilities that will suit the film and TV industry for sure.JC: Fibre optics are now right on the street so we are looking at the feasibility of bringing cabling into the studio.AC: Kingsize now offers a compre-hensive range of small camera rig-ging systems, eg: car, tripod & shoul-der rigs for Canon 5d, Panasonic AF100, Sony F3, and more. We also have a new slider, LED lights, tripods, monitors, and more for small camera package work.

We also installed a grid in our main studio, adding huge function-ality. Studio 4 has been very popular

Q&A

as large-scale productions.CA: Who really knows? There seems to be quite a lot coming up but it will be very difficult to catch up from such a slow start.JH: A degree of uncertainty with some of the larger productions, but generally good.JMG: It will be a year of consolida-tion of our core business activities which are based around longer-run children’s series and expansion into new genres. As result of the construction two years ago of our client-focussed production and post-production facilities, we are winning increasing volumes of commercial and corporate work from ad agen-cies and PR companies. We are really enjoying the growth in this part of the business and expect this trend to continue in 2011.CB: We are expecting a reason-able year with The Hobbit and other projects already in production, but you never know when a feature film may arrive and there is talk of projects in the pipeline – definitely an industry we’ve struggled to ap-portion capital expenditure to as it is hard to gauge the horizon; it’s like that for all suppliers.JC: Along with the HDSLR revolu-

State of the nationContinued from page 19

Janine Morrell-Gunn (Whitebait TV).

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22 february 2011 www.onfilm.co.nz

Q&A

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with its large skylight, and our new Garden Studio has started its first full summer of work.

Have the budgets of shows you’ve been supplying to increased, decreased or remained static over the past year?MM: Appear to have decreased.NB: Camera systems, such as the Canon 5D, have altered budgets for certain productions and some companies have their own systems so there is no longer such a dependence

upon camera and video assist service companies.CA: Much the same. TVCs seem to be far more realistic than local dramas and small films.JH: Static.JMG: Our show budgets have re-mained fairly static over the past year.CB: Generally budgets have been about the same although there have been fewer big-budget productions in 2010. Budgets are funny things; no

matter the size of production there are always constraints; their budgets have no real bearing on our supply. For Hirepool it’s better to be able to supply to 20 TV and film productions spreading supply rather than one large film production.JC: I would say that technology has offered more options for budget variance to the broader film & video, television and commercial stills in-dustries.AC: We have observed that most clients are being mindful of budg-ets, but not skimping on production necessities. No one wants to cut corners, since the client’s dollar is so valuable.

What do you most enjoy about work-ing within the NZ screen production industry?MM: Creative challenges and the variety of work.NB: Working with the people, going to great locations and getting positive

and supportive feedback from visiting and local crew members.CA: We enjoy the people and the variety and you feel like you are part of the bigger picture.JH: Varied and dynamic.JMG: I thrive on the exciting oppor-tunities that come from challenging times and have a real passion for the industry. At Whitebait we have a real commit-ment to growing the skills of young people in their chosen craft so they can then go out and flourish. We are a small but talented industry that in the main is producing a body of work that is truly world class.CB: We love the passion and the people.JC: That every production has unique demands, moving with the times and accommodating the changes.AC: Definitely the people: so many of our clients are just so passionate about image making which makes our work so enjoyable.

State of the nationContinued from page 20

We as video assist suppliers are asked more and more to fill in the gaps

and be knowledgeable in all these HD

options. Nigel Burton (DVANZ).

23www.onfilm.co.nz february 2011

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Anything else you’d like to men-tion?MM: Let there be an end to any men-tion of “the recession”. NB: The true cost of IT and HD video assist is the support you have behind you. For every one day in set I’m behind the scenes four days to get it to set, making sure it runs to its capacity and offers the best options for the productions. This work is ap-preciated and we will continue to ex-plore new workflows as new camera systems enter the marketplace. The knowledge of these camera systems needs to come hand in hand with post workflow as well as onset video assist and data management systems. There are many ways to do these things and some are better than others so it’s good to understand the best possible options.CA: Just another quick moan about budgets, especially vastly under-funded productions. We don’t re-ally know how it all works so may be speaking out of turn. From what we have experienced, underfunded productions can be more hassle than what they are worth. We discount our price and then feel often the gear that we have supplied was all that could be afforded and not really the

right gear for the job and frustrated or less experienced crew take it out on our gear and us. A small margin can quickly turn into a loss. Is it bet-ter to submit a realistic budget and risk getting turned down for funding or trim the budget to such an extent everyone gets frustrated?JC: Minnie Street and Windmill Road are essentially dry hire spaces available across the board to the commercial stills, TVC and screen production industry. There’s prob-ably a part, large or tiny, of every production that could be accom-modated here. I find it’s the simple things that are important: parking, easy load in, the studios can be blacked out, three-phase power, client-friendly.AC: Kingsize Studios offers every-thing from studio rental, to gear hire. Equipment sales for many of the best brands in the world. We also run a blog, Facebook page, and Twitter for general information, and up to date news. We have a great community of photographers and film makers who are clients of the studio, and it’s not uncommon for these people to drop in for a coffee and a chat to solve various creative or technical challenges.

Minnie Street Studio.

Kingsize Studios.

24 february 2011 www.onfilm.co.nz

mercial and I’d been booked to shoot on a Canon 5D camera,” says Duncan. “But before the shoot I went to Auckland launch of Sony’s new F3 camera and I loved the demo footage that they showed.”

The demo was a short film shot by Australian Director Jason Wingrove, while the Sony F3 is a new category of camera designed to emulate the big screen look at price way below a Red camera, but a step above the Canon 5D in quality and price.

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Chasing a commercial rainbow

Donny Duncan gives his thumbs-up to the new Sony f3 camera. Peter Parnham reports.

Continued on page 24

The opportunity was too good to miss. “I was cheeky enough to ask the guys from Sony if there was any chance I could have the camera the following week for the commercial,” says Duncan.

It was a bold move because the camera wasn’t just any new camera; at the time of the shoot back in November it was one of only a hand-ful of pre-production engineering

Hire&Studio

quality images.It’s a situation faced recently by

cinematographer Donny Duncan as he prepared to shoot Vodafone’s Double Rainbow commercial, a crea-tive idea sparked by a YouTube clip of a wildly enthusiastic man, ‘Bear’ Vasquez, watching a double rainbow in Yosemite. The clip climbed to well over 24 million views as the com-mercial hit New Zealand television channels mid-January.

“It was a mid to low budget com-

I f you are a producer or director working in commercials or drama

you almost certainly would like to get the 35mm film look on screen.

Until now, the only way to afford it on a low budget was to use a digital single lens reflex (DSLR) stills cam-era like the Canon 5D.

They are a cheap way to get that big screen depth of field look, but come with serious shortcomings for the director of photography and post house trying to produce high Continued on page 26

25www.onfilm.co.nz february 2011

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Chasing a commercial rainbow

26 february 2011 www.onfilm.co.nz

Hire&Studio

TC61

93 O

F@

samples around the globe. If any-thing went wrong with the untried camera the idea could backfire on Duncan, but he wasn’t deterred.

“Word came back from the pro-duction company, Robber’s Dog, the agency and client that if I thought it was going to be a good thing and do the job they had enough faith to go ahead to and shoot with it,” says Duncan.

A second hurdle was to coordi-nate with DoP Yves Simard who had already arranged to shoot some eval-uation footage for CrewsTV at the same time. Simard says he was happy to rearrange because nothing beats the pressure of a real-world test.

The result of all this was a coup – the first commercial to be shot on the new camera.

Duncan says he was very happy with the results from the camera, although he cautions his focus was on shooting the job in the tight time frame required by the production, rather than testing all the features of the camera.

“I had no chance for high contrast dramatic lighting,” he points out. “It was a pretty big challenge for the

camera, as there were quite a lot of situations with really hot, bland skies. Shooting wide shots towards the sun in a broad overcast sky was really hard.

“I almost constantly had a hard edge grad filter in the top of frame, but then I would have been do-ing just the same if I was shooting film.”

Duncan was also able to give Sony some feedback on tweaks he’d like to see in production models, but has no regrets about the experience. “One reason I went for this camera was because we had a lot of VFX with doubling up of the rainbows and the waterfalls and all that,” he says.

“I figured that there are going to be fewer artefacts and rolling shutter effects than on a DSLR, which is all going to help if you are doing VFX.

“I have spoken to the VFX art-ist and he said it was pretty clean, there wasn’t any problematic noise at all.”

• The commercial in HD: http://crews.tv/?p=1964• The short film in HD: http://crews.tv/?p=1741

One reason I went for this camera was because we

had a lot of VFX withdoubling up of the rainbows and the waterfalls.

27www.onfilm.co.nz february 2011

company profile

Hirepool, New Zealand’s Recognisable Market Leader in Equipment Rental and Plant

Management Services has built up an enviable wealth of knowledge and experience servicing and supporting the New Zealand Film and TV Industry. Many years of trusted hard work by our passion-ate hire specialists has been the reason Hirepool is positioned as the market leader. Hirepool also owns and operates Port-A-Loo, Henderson Rentals (North Island), Rhodes Rentals (South Island) and Castles Party and Events.

Under one roof with a hire specialist our people provide an extensive range of products to film production companies - access equipment, scaf-folding, generators, lighting, pumps, power tools, excavators, portable toilets-showers-buildings, fencing, traffic management, marquee and event equipment, cars, vans, utes, trucks and much more…..

No matter what and where you are filming Hire-pool can support your production - with 53 branch locations throughout New Zealand from Whangarei

to Invercargill, where ever you need equipment or vehicles, Hirepool will find a way to deliver!

Hirepool are happy to support all types and sizes of production from TV commercials to feature films. In recent years our team have serviced large budget feature films such as Lord of the Rings, The Lion the Witch and the Wardrobe, Prince Caspian, 10000BC, Wolverine, King Kong and Avatar to name a few, as well as many smaller Film, TV and Commercial projects which require the same level of service and support.

Hirepool’s experience means we understand what is important to customers and strive to deliver excellent levels of service, good quality product that is safe and reliable - Hirepool is the only New Zealand Hire Company having obtained Tertiary rated Health and Safety in New Zealand 4 consecutive times, being the past 8 years.

Hirepool is proud of our reputation as a film friendly hire company, Hirepool is pleased to continue our long term commitment to supplying your awesome industry.

Contact:09 525-13550276 684-519shane.clifford@hirepool.co.nz

28 FEBRUARY 2011 www.onfilm.co.nz

tokia Rangihau, Riria Rangihau, Whakarito Rangihau, Parehuia Eparaima, Pato Ripia, Raymond Tipu, Tarewa Rota, Charlie Lambert, Ivan Turipa

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

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

How to get yoUr ProDUCtion listeDBecause all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.

GHOST SHARK 2: URBAN JAWSFeature prod co Mad Fox Films writers/prods/dirs Andrew Todd, Johnny Hall line prod Alastair Tye Samson DP Andrew Todd art dir Jasmine Rogers-Scott m/up Kirsten Taiapa snd recs Alastair Tye Samson, Joh Bloomberg stills Adam Baines PA Ellie Callahan 2 unit dir Doug Dillaman eds Andrew Todd, Johnny Hall cmpsr Luke Di Somma cast Campbell Cooley, Johnny Hall, Steve Austin, Kathleen Burns, Roberto Bascimento, Isabella Burt, George Hardy, Juliette Danielle, Alan Bagh, David Farrier

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

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

HOT ROBSelf-funded action comedy short dir Andy Campion DP Marty Lang vfx ed Caleb Carr 1AD Johnny Eagle gaffer David Brownjohn cam asst Philip Kehm steadycam op Glen Maw snd Miguel Ruiz boom op Alex Lee scrpt sup Sophie Cherry m/up Renei Bailey grip Jared O Neale unit Charlette Potts cast Hayden Weal, Rowan Bettjeman, Aroha White, David Brownjohn, Faalii Alaimoana, James Simpson, Daley Tapa, Florence McFarlane, James Blake

JAKEFeature (RED) p rod co Hybr id Mot ion Pictures prods Alastair Tye Samson, Anoushka Klaus, Doug Dillaman writer/dir Doug Dillaman 1AD Ellie Callahan prod mgr Amanda Cairns-Cowen DP Ross Turley f/pullers Garth Merrylees, David Steel, Meg

Perrott, Ayrton Winitana key grip Heath King 2nd asst cam Fiona Janet Young lx assts John Young, Ewan Hall snd rec Alex Bird art dir Jasmine Rogers-Scott cost Jasmin Gibson, Barbara Pinn m/up art Anna Hewlett stby w/robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit colourist Alana Cotton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood, Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies

MEATHEAD35mm NZFC funded short prod co Eyeworks Film prods Desray Armstrong, Chelsea Winstanley consult prod Robin Scholes exec prod Big Shorts dir/writer Sam Holst 1AD Seamus Cooney 3ADs Bonnie Frires, Floyd Moratti cont Kath Thomas strybd art Glen Christie DP Andy Commis f/puller Jason Cooper White c/loaders Kent Belcher, Gray Turner s/cam Grant Adams stills Louise Hyatt behind the scenes Chris Walker grip Anton Leach gaffer Sean Loftin lx/grip asst Corey Moana snd rec Ben vanderpoel boom op Adnan Taumoepeau prod des Sinclair Lonsdale stby props Billy Mizer art asst Jesse Magrath cost des Emma Skudder m/up Debbie Tremayne unit Rua Howe safety Sam Cometti, SceneSafe prod asst Dena Kennedy prod runner TemaKwan Fenton-Coyne rushes runner Suze Srpek cam equip Panavision NZ stock Fujifilm NZ ed Peter Sciberras snd des Max Scott, Nick Buckton, Matt Scott casting Reel World Casting cast Jesse James, Greg Smith, William Hem-ming, Mick Innes, Stephen Ure, Jesse Magrath

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

SHANTYTOWN HOLOGRAM12min prod co 3DLive prod Ronel Schodt holographic DP Karl Schodt ed/compositor Wayne Johnstone scrpt/post sup Bridget Ellis Pegler m/up Danielle Orme gaffer Matt Johns

TAKU RAKAU E12min short 35mm prod co StanStrong prod Merata Mita dir/writer Kararaina Rangihau prod mgr Chelsea Winstanley prod asst Shannon Biddle prod runners Dena Kennedy, Dave Anderson 1AD Pita Turei 2AD Kath Akuhata Brown prod des Okiwi Logan Shipgood construct Bonnie Taiatini, Haruru Ripia props Jimmy Kouratorus DP Grant McKinnon asst DP Mike Johnathan gaffer Mike Toki b/boy Logan Phillips grip Jim Rowe grip asst Andy Troughton loc mgr Steve Frires m/up artist Jasmine Amohau snd rec Aaron Davis add snd Ethan Davis cont Kath Thomas f/puller Kent Belcher c/loader Meg Perrot cam asst Amber Smith stills Cinzia Jonathan cam equip METRO film lx equip Volcano Lighting unit/safety Tweedie Waititi catering Te Kohanga Reo o Waikaremoana ed Dena Curtis snd des/ foley artist Dick Reade music Justin Kereama karearea footage Hikoi NZ film stock Fuji film processing Film Lab Ltd telecine transfer Digi Post snd des studio Reade Audio curious film prod Matt Noonan flame op Nigel Mortimer title des Richard Shaw subtitles Luke Haigh cast Menu Ripia, Te Ratauhina Tumarae, Te Urewera Tekurapa, Kiripounamu Tekurapa, Kirika-

Filmin PRODUCTiOn

BILLY T JAMES: A KIWI JOKER90min feature prod co BTJ Movie prods Tom Parkin-son, Robert Boyd-Bell dir Ian Mune writers Ian Mune, Phil Gifford prod mgr Liz DiFiore prod asst Rachel Choy 1AD Neil James prtcpnt coord Sarah Banasiak kaitiaki Tearepa Kahi rsrchr Dianne Lindesay pub Sue May snd rec Dick Reade prod des Rob Gillies props Paul Dulieu DP Waka Attewell cam asst Mike Knudson vid splt/data wrangler Kim Thomas gaf-fer/grip Mathew Harte greens Robbie Penny cost des Gavin McLean casting Christina Asher loc/unit Ronnie Hape, Nicki Tremaine acct Len Tenorio post prod Images & Sound ed Chris Plummer post prod sups Grant Baker, Toby Parkinson

POST PRODUCTiOn

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

DEVIL’S DOOR TO HEAVEN16mm short prod co The Film School dir Lillian Beets writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Paul Jackson prod mgr Kathleen Collins prod asst Annalisa Ridley prod runner Nathaniel Hinde loc mgr Mark Jackson cam op Josh O’Brien f/puller Bonnie Low c/loader Pavel Kvatch vid asst Ben White grip Neil Hunter grip asst Gene Warriner gaffer Helmut Marko gaffer asst Joshua Kamau snd rec Dylan Jauslin boom op Sandy Burton-Davis 1AD Steven Charles 2AD Ahmed Osman cont Betty Savage art dir Sinclair Dyer prps/art asst Lisa Fraser-Clark w/robe Tom Frame unit Sagar Janvekar cast Nick Dunbar, Don Langridge, Todd Rippon, Sarah Lineham, Elliot Travers

FRIENDS BY THE WATER16mm short prod co The Film School dir Sandy Burton-Davis writer Joseph Ryan prod John Reid exec prod Tommy Honey asso prod Alison Langdon DP Gene Warriner prod mgr Steven Charles prod asst Betty Savage prod runner Sagar Janvekar loc mgr Bonnie low cam op Dylan Jauslin f/puller Helmut Marko c/loader Ahmed Osman vid asst Nathaniel Hinde grip Sinclair Dyer grip asst Tom Frame gaffer Mark Jackson gaffer asst Kathleen Collins snd rec Pavel Kvatch boom op Neil Hunter 1AD Lisa Fraser-Clark 2AD Joseph Ryan cont Lillian Beets art dir Ben White prps/art asst Joshua Kamau w/robe Annalisa Ridley unit Paul Jackson cast Zoe Lovell-Smith, Nick Blake, Bailey McCormack, Vivien Bell, Aidan Grealist

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

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29www.onfilm.co.nz FEBRUARY 2011

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

in RELEASE

BABY20min short prod co Treetop Productions prod/dir/writer Raquel Sims prods Richard Whiteside, Juli-eanne Stephens, Amanda Berryman DP Matt Sharp 1ADs Jules Lovelock, Luke Ruscoe, Bruno DuBois 2AD Felicity Hamill prod mgr Amanda Berryman prod asst Laurence Fauatea runners Marty Chung, Tayla Davies, Keiran Vane ed Nikki Parlane snd ed/des Joel Anscombe-Smith snd asst Tim Blake colourist/vfx Matthew Harris cam op Ben Forman f/pullers Bryson Rooney, Graham Smout cam assts Graham Smout, Alex Lee gaffer Lee Scott b/boy Bret Saunders lx assts Daniela Conforte, Royce Goddard grip William Mathews asst grip Andrés Bocage snd Dan Urlich boom op Tim Blake music snd Lauren King data mgr Symon Choveaux unit mgr Eugene Becconsall unit asst Sharon Lucinsky, Sandra Munro set dress/props Mike Mercer, Melanie Hull props Julieanne Stephens cont Heidi Jeynes, Marian Angeles w/robe Bonne Kemp m/up Jasmine Amohau, Renei Bailey, Lucy Gargiulo, Kerry Taylor hair Dayna Morris, Sandra Stevenson @Zambezi music Mama Tilly, Rose Blake, Catherine Norton pub Richard Whiteside prod stills Greig Sims pub stills Sarah Julianne medical advs Sharon Graham, Dr Vincent Wong casting Beth Brash cast Jessica Manins, Vincent Wong, Rose Blake, Richard Whiteside, Elliot Travers, James Trevena-Brown, Barbara Woods, Elaine Butler

BEAT14min HD short prod co Pitts Productions dir/scrnply/prod Virginia Pitts chrgrphr Karen Barbour cmpsr Jeremy Mayall DP Leon Narbey prod mgr Patti Mitchley prod des Brenda Kidd ed TemaKwan Fenton-Coyne cons Shona McCullagh snd mix Chris Burt tech mgr Grant Sherson snd rec Brad George lx Tony Lumsden lx asst James Dudley cam asst Arianne Zilberberg 2nd cam Shoshana Sachi 1AD Bonnie Frires prod asst Kirsty Russel unit TemaKawn Fenton-Coyne cont Maryanne Tuao hair m/u Kathy Hart snd asst Jihad Qhanbari cat Orca Bar and Restaurant loc Rohi Manu ins Crombie Lockwood insrmntl perf Jeremy Mayall guitar Joe McNamara asst ed Shoshana Sachi vid post-prod Images and Sound, VET cast Reiki Ruawai, Whetu Silver, Karere Henare, Alex Hitchmough, Claire Gray

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

RUSSIAN SNARK80min feature prod co Godzone Snark Productions prod Liz DiFiore dir/writer Stephen Sinclair 1ADs Tony Forster, Annie Frear 2AD Katja Studer 3ADs Mina Jafari, Reuben King prod mgrs Alex Campbell, Angela da Silva prod coord Angela da Silva prod sec Sarah Vercoe prod acct Angela Hicks prod assts Kayleigh Sheekey, Elle Clarke, Pascal Perrin, Soraya Pearl Jolly, Rachel Choy, Sarah Jones, Wendy McCracken prod runners Michael Grainger, Rory Howard, Donna McCarthy, Natalie Frigault, David Capstick, Kelly Lyndon, Mark Wigglesworth, Fletcher Selaries, Kermath Davies, Michael Tunbridge, Belinda Hart, Juliette Williams audio Ande Shurr boom ops Matt Daniel, Jeremy Lawry prod des Lyn Bergquist, James Solomon set dec Adria Morgan stdby props Piripi Taratoa art assts Richard Cooke, Michael Wil-liams art runners Pieta Heynon, Dominique Calder DP Steve Latty cam assts Kent Belcher, Rajiv Raj, Alex MacDonald, Martino Frongia, Matt Hart, Nick Hayward, Alex Campbell vid splts Zohra Trinder, Pepe Ramos cont Kat Phyn, Awanui Simich-Pene, Nikki Castle gaffer James “Splash” Lainchbury lx assts Lance Daley, Felipe Moreno-Laidlaw key grips Kevin Donovan, Chris Rawiri, Jim Rowe grip assts Lincoln Phillips, Winnie Harris cost des Cathy Pope cost consult Deirdre McKessar add cost des Sox Teng stdby w/robe Amber Rhodes, Andrea Matysik w/robe asst Daniel Voyton sfx m/up Hayley Marlow m/up Samantha Cairnes-Morrison m/up assts Yolander Bartham, Luana Millar, Kym Stevenson, Elizabeth Canales-Ron safety/marine coords Scene Safe, Rob Gibson, Marty Clist, Richard Reynolds stunt coord Tim Wong boat wranglers Curtis Akitt, Sam Cometti unit mgr Paul James unit assts Hamish Mason, Amy Russo, Michael Wylan caterers Platters Catering stills Geoff Short, Olga Panassenko, Nick Monks, Sasha Stejko, Liz DiFiore casting Christina Asher loc Rebecca de Beer Lamont, Petrina D’Rozario loc assts Mark Wigglesworth, Jane Bucknell post prod Images and Sound ed Wayne Cook, Paul Maxwell post prod ed assts Nick Hopkins, Gary Young post prod sup Grant Baker epk cam ops Nick Hopkins, Liz DiFiore, David Munro, Hamish Coleman-Ross cams Niche Cameras

THE RUNNER10min prod co 316 Productions prods David Mc-Cartney, Allan George exec prod/dir Ben O’Hanlon writer Jarret Filmer DP Allan George prod mgr Emily O’Hanlon 1AD Omar Al-sobky cast dir David McCartney art dir Isaiah Vaega lx assts Johnathon Huston, Mathew Harte m/up Kerri Thomassen grip Kerem Blumberg runner Jason Daniels stunt coord Craig Dunn stunt rigger Noodles stunt dbl Adrien McGaw ed Ben Fowler compsr Peter Laussen audio Kieran Clarke vfx art Paul Jones colourists Allan George, Ben Fowler art Leslie Chih cast Patrick Morrison, David McCartney, Samuel Thomas, Lathan Lockwood, Isaiah Vaega, Duane Haugie, Andrew Jenkins, Allan George

TelevisionPRE PRODUCTiOn

BOIL UP30x26mins studio panel sports prod co Mäori TV exec prod Carol Hirschfeld prod Te Arahi Maipi dir Mahanga Pihama prod mgr Kym Morgan prod asst Kahukore Bell snr prod mgr Sandra Richmond

EVER WONDERED – SERIES 210x28min science & technology prod co Buto Pro-ductions exec prod Glenn Elliott asso prod Karen Bunting rsrch Rachael Hennessey

PARADISE CAFÉ 213x30min children’s drama prod cos Gibson Group (NZ), Initial (Endemol UK) prods Dave Gibson, Chris-topher Pilkington line prod Chris Tyson asst to Dave

gibson Anna Middleton scrpt ed Karen Curtis writers Andrew Gunn, David Brechin Smith, Briar Grace Smith, Chris Ellis, Sarah Nathan, Deborah Wilton, Edwin McRae, Kate McDermott, Ben Marshall, Joss King dir Danny Mulheron prod mgr Jo Hiles prod coord Kristen Rowe prod sec Sally Cunningham prod asst Lucie Camp prod rnnr Andy Campion accts Kathy Regnault prod des Kevin Leonard Jones art dir Nick Riera onset art dir Josh Barraud art dept asst Heyden Hughes props buyer Nicole Spackman s/by props Taylor Wikohika model maker Ivan Rooda art dept rnnr Campbell Waugh const mgr Russell Stoupe leadng hnd Sandy Wilmar 1AD Robin Wilson 2AD Jacqui Pryor 3AD Bruno Du Bois DP Simon Baufield f/puller Roger Feenstra vid asst Tammy Williams tVnZ snr cam op Richard Lander tVnZ cam op Jane Vaughan tVnZ add cam op Andrew Wiggins tVnZ cam asst Tim Butters, Nathaniel Brunt cast dir Rachel Bullock xtras coord nZ Nathan Meister xtras coord raro Serena Cowan cast tutor Sharon Milton caterng Billie Lusk cont Sandra Dryden cost des Gillie Coxill cost sup Chris Pickard cost s/by Elizabeth Watson cost asst/run Emma Lodge sewer Sarah Muir, Cathy Harris offc mgr Roger Leslie grip Oli Harris safety offc Neal Luka loc/unit mgr raro Maurice Newport gaff Giles Coburn b/boy Jamie Couper gene op/electrn Ants Farrell TVNZ lx dir Roger Wallan TVNZ lx Byron Sparrow key m/up/hair des Hil Cook m/up artist Angela Duncan ed Ben Powdrell cgi sup John Strang fac mgr Rex Potier gg online ed Adam Sondej freight coord Sarah Bicknell snd rec Don Paulin boom op Sam Spicer stunt coord Rodney Cook unit mgr Gabe Page n/works TVNZ, BBC (UK) cast Pax Baldwin, Holly Bodimeade, Lara Custance, Georgia Fabish, Nua Finau, Miranda Harcourt, John Wraight

TE MATATINI 20113x3hrs, 1x6hrs, 42x26min NZ Kapa Haka National comp prod co Mäori TV exec prod Carol Hirschfeld prod/event dir Derek Wooster field dir Ngatapa Black highlight dir Brendon Butt prod mgr Pam Cain snr prod mgr Sandra Richmond

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

THE ART OF ARCHITECT 44min prod co TVNZ Production Unit prod unit mgr/eP Tina McLaren prod Dana Youngman prod mgr/prod acct Deb Cope sen rsrchr Sue Donald rschr Sue Killian

in PRODUCTiOn

3D CHINA10x60min doco prod co NHNZ co prod 3D Net (Discovery, Sony & IMAX) with CICC exec prod Craig Meade DP/strgrphr Mike Single series post prod Ian McGee prod mgr Christine Drew rsrchr Jane Adcroft loc fixers Felix Feng, Lauren Wang CCiC fixer Li Pei eds Jason Lindsey, Chris Tegg, Jason Horner snd Stacey Hertnon, Errol Samuelson strscpc online & grade Park Post Road mus Audio Network

3D JEWELS OF THE WORLD10x60min doco prod co NHNZ & Beach House Pic-tures co pro 3D Net (Discovery, Sony & IMAX) with MDA exec prod Craig Meade series post prod Ian McGee prod Jocelyn Little post prod BHP Janine Campbell prod mgrs Christine Drew, Michelle Tan, NHNZ DPs Max Quinn, Alex Hubert BHP DP Brad Dillon strgrphrs Karl Schodt, Mike Single loc asst Linsey Davidson rsrchr Brant Backlund eds Jason Lindsey, Chris Tegg, Jason Horner snd Stacey Hertnon, Errol Samuelson strscpc online & grade Black Magic Singapore mus Audio Network

AKOprod co Mäori TV exec prod Carol Hirschfeld prod Pirihira Hollings rsrchr Pania Papa, Puka Maeau pres Pania Papa dirs Te Rangitawaea Reedy, Greg

Mayor prod mgr Trudy Steele snr prod mgr Sandra Richmond

ANIMAL ACADEMY7x30min People who are passionate about animals prod co Whitebait-TV pres Sarah Ulmer, Jeremy Maguire, Geoff Mehrtens writer/res/dir Margaret Gordon prod mgr Jo Eade writer/res Juliana Murphy dirs Scott Hindman, Bron Williams APPs Vahid Quall, Dave Cooper eds Leanne Munro, Stewart Waterhouse, Michelle Bradford gfx Harold Kho, Mike Boulden prod Tracey Geddes exec prod Janine Morrell-Gunn n/work exec Philippa Mossman

ANTARCTIC WHALE EXPEDITIONHD doco prod co NHNZ (www.nhnz.tv) exec prod Judith Curran dir/prod/snd op Max Quinn prod mgr Nikki Stirling

ANZAC 20101x17hrs coverage of Anzac Day prod co Mäori TV exec prod Ross Jennings prods Carmel Jennings, Te Rangitawaea Reedy prod mgr Leichelle Tanoa snr prod mgr Sandra Richmond

ASIA DOWN UNDER40x29min prod co Asia Vision prod Chris Wright asso prod Glenna Casalme prod mgr Jenna Steel reporters Bharat Jamnadas, Milda Emza, Kadambari Gladding, Stephen Chu, Jasmine Pujji rsrch Geraldine Ramirez cam op Dave Flynn ed Jeff Avery audio post Envy Studios

ATTITUDE - 640x30min disability focused docos prod co Atti-tude Pictures prod Robyn Scott-Vincent dirs Emma Calveley, Ramon Te Wake, Nicola Salmond, Richard Riddiford, Megan Jones line prod Robyn Barker prod acct Jane Cotter prod assts Sue Wales-Earl prod trainee Daniel Wrinch mus coord Kristy Munro rsrch Emma Calveley, Tanya Black, Dan Buckingham, Gemma Murcott-Ward cam Greg Parker snd Wendy Adams gfx Brandspank ed Attitude Pictures online ed Simon Hyland snd TVNZ, Simon Weir report-ers Curtis Palmer, Tanya Black, Dan Buckingham, Kristy Munro

AUTAIA30x26min Māori language, youth careers prod co Maori TV exec prod Carol Hirschfeld prod Mechele Harron pres Tupoutama Paki dir Robynleigh Emery, Paora Ratahi prod co Anahera Parata prod mgr Trudy Steele snr prod mgr Sandra Richmond

BEYOND THE DARKLANDS 46x60mins prod co Screentime exec prod Philly de Lacey dirs Mary Durham, Rita Attwood, Peter Bell, Eugene Carnachan, Bryn Evans prods Mary Durham, Peter Bell, John Keir prod mgr Kates Moses cam op Chris Matthews, Gavin Stroud, Daniel Apiata, Scott Behrnes eds John Kirk, Alex Behse, Roger Yeaxlee online ed Keith Mclean

THE BOX SEAT 48x60min prod co Trackside exec prod Mandy Toog-ood prods Matt Smith dirs Jamie Annan, Glen Bourne, Brendan Burns, Marty Henderson host Brendan Pop-plewell prod asst Nichola Johnson eds Elena Ash, Shane Devitt, Iain Logan, Rhyce Barker

CLINICAL YEARS1x60min doco prod co PRN prod/dir Paul Trotman cam Stephen Dowwnes, Wayne Vinten snd Brian Shennan

COUNTRY CALENDAR26x30min rural NZ lifestyles prod co TVNZ prod unit mgr Tina McLaren prods Julian O’Brien, Frank Torley prod mgr Robyn Best dir/res/reps Jerome Cvitanovich, Vivienne Jeffs, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry

FIRE WARFAREprod co Greenstone Pictures ho prod Andrea Lamb prod Sophie Dungate dir Reuben Pillsbury prod

ProductionListings

www.databook.co.nzUpdate your listings now for 2011

30 FEBRUARY 2011 www.onfilm.co.nz

PARADISE CAFE SERIES 213x30min children’s drama prod co Gibson Group prod Dave Gibson dir Danny Mulheron line prod Chris Tyson vfx sup John Strang ed Ben Powdrell post sup Heather Cottam n/wrk exec Tina McLaren n/wrk TVNZ, CBBC

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

SUPER CITY6x23min prod co Super Fumes prod Carthew Neal exec prods Carthew Neal, Madeleine Sami consult prod Paul Horan writers Madeleine Sami, Thomas Sainsbury dir Taika Waititi line prod Leanne Saun-ders prod coord Chelsea Francis runner Gilly Luxton casual prod Hayley Cunningham stills Louise Hyatt prod acc Diane Illingworth 1AD Hamish Gough, Quentin Whitwell, Richard Matthews casual 1AD Katie Tate 3AD/unit Roberto Nascimento, Patricia Phelan, Richard (Ricky) James Silvester dir asst Prue Clarke loc mgrs Martin Hale, Richard Mills cas loc Andy Brown DP Jake Bryant cas DP Rewa Harre cam op Johnny Renata cam asst Ciaran Riddell cam intern Chesney McDonald snd rec Colleen Bren-nan, Craig O’Reilly boom op Nikora Edwards, Adnan Taumoepeau, Sam Good cas boom op Sean O’Reilly m/up des Dianne Ensor m/up art loc Anna Dewitt, Miranda Ramen m/up asst Abigail (Abby) Poynter cos des Larissa Lofley w/robe asst Hannah-Lee Turner, Lucia Farron-Diamantis art dir Dion Boothby art dpt asst Lisa Dunn cas art asst Haley Williams, Pritika Lal, Ethan Montgonery-Williams ed Cushla Dillion ed asst Dione Chard, Beau Rebel safety Scene Safe, Thunderbird Saftey post fac Toybox - Olin Turrall, Trinette Norton dialogue ed Chris Todd snd des Tim Prebble ntwrk exec Rachel Jean lawyer Matt Emery thanks South Seas Film School, Unitec & AUT for intrn Anna Cecelia Rowe, Aziz Al-Sa’afin, Bec Sproule, Brooke Jackson, Chris Stratton, Corinne Ash, Elizabeth Maddison, Enny Benzonelli, Facundo Canaves, Gemma Duncann, Genevieve Driver, Gracie Emberson, Henric Matthiesen, James Watson, Jorge Alfaro, Josh Finnigan, Kristy Wallace, Lennie Galloway, Lisa Moore, Lisa Fothergill, Lydia Stott, Nikita Wist, Philip Copley, Rosie Abel, Tammy Brenstrum, Willem Crowhurst cast Madeleine Sami, Rose McIver, Jessica Joy-Wood, Calvin Tuteao, Mick Innes, Gillian Baxter, Rachel House, Nikki Siulepa, Fiona Edgar, Yvette Parsons, Fred Bishop, Edith Poor

TANGIWAI90min telefeature prod co Lippy Pictures writers/prods Paula Boock, Donna Malane dir Charlie Haskell line prod Angela Littlejohn DP David Paul 1AD Richard Matthews 2AD Robin Wilson 3ADs Chloe Forbes, Kevin Armstrong f/puller Charles Edwards c/loader Andreas Mahn prod coord Desray Armstrong prod asst Jimmy Hayes prod asst/runner Michael Robins cast dir Tina Cleary extras coord Yvette Reid script sup Merrin Ruck prod acct Maurice O’Reilly rsrchr Angela Boyd miniature train Weta Workshop miniature train sup Ian Ruxton snd rec Chris Hiles boom op Steven Harris prod des John Harding art dirs Ben Milsom, Campbell Read art dept coord Mary Connolly lead prps/byr/dresser Rosie Guthrie prps/byr/dresser Gim Bon stby prps Josh O’Neill art dept asst Jody Conaglen constr mgr Russell Stoupe carpenter Hugo (Sandy) Wilmor scnic art John Cruickshank brushhand Jeff Koning key grip Hamish McIntyre grip asst TK Bedford gaffer Adrian Hebron b/boy Matty Andrews gene op Hansel Verkerk lx asst Mark Matchett cost des Nic Smillie cost sup Amanda Neale cost stby Sam Morely cost asst Kate Trafford patternmaker Sheila Horton cost runner Rose Morrison m/up des Linda Wall m/up asst Jayne Donaldson stunt coord Augie Davis safety Rodney Cook loc mgr Kevin Magill loc asst Wayne Hart transport Ardy Matthews unit mgr Josanne Tane ed Paul Sutorius cast Rose McIver, Ryan O’Kane, Taungaroa Emile, Miranda Harcourt, Mick Rose, Dean O’Gorman

TRIBAL HUNT4x60min HD doco prod co NHNZ (03 479 9799) co prod NGCI exec prod John Hyde series prod Nicola Hammond rsrchr Marcus Turner prod mgr Kavita Chopra host Hayden Turner post dir Sandra Welkerling, Giles Pike eds Cameron Crawford, Marilyn Copland comp Leyton gFX Karsten Schneider snd Stacey Hertnon, Errol Samuelson vid post Stu Mof-fatt, Frank Lodge

XENO1x60min doco prod co PRN prods/dirs Malcolm Hall, Paul Trotman cam Stephen Dowwnes, Michael McLeod ed Josie Haines

prod mgr Rebecca Plaistow prod asst Rochelle Leef fund TVNZ

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

NGA TAONGA WHITIAHUIA26x26min NZ Film Archive show prod co Mäori TV exec prod Carol Hirschfeld prod Michele Bristow pres Lawrence Wharerau dirs James Ratahi, Ira Heyder prod mgr Trudy Steele snr prod mgr Sandra Richmond

PACIFIC BEAT ST39x23min youth series for TV3 prod co Drum Produc-tions prods Julie Smith, Stan Wolfgramm dirs Stan Wolfgramm, Carolyn Sylvester, Sam Cowley-Lupo, Koryn Dunstan rsrch Jane Dowell cam ops Nick Winter, Faanati Mamea prod mgr Jan Stensness ed Gary Young art dept Vea Mafileo, Sheldon Edwards snd post Jason Fox pres Koryn Dunstan, Khalia Strong, Michael Koloi, Sam Cowley-Lupo

POLICE TEN 736x30min prod co Screentime exec prod/prod Philly de Lacey dirs Rita Attwood, Les Dawson prod Sarah-Luise Hornblow asso prod/rsrch Katherine Birchall prod coord Olivia Lynd gfx Marcus Brill pres Graham Bell offline eds Jim Hudson, Rahera Herewini online ed Keith Mclean

PRAISE BEprod co TVNZ Prod Unit tVnZ prod unit mgr Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowa-ter pres rsrch Chris Nichol mus dir Peter Averi

RURAL DELIVERY 740x30min wkly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dirs Jerome Cvitanovich, Kirsty Cooper asso prod Liz Kruse prod mgr Rodie Smith prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan pres Roger Bourne

SCU – SERIOUS CRASH UNITprod co Greenstone Pictures ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson prod asst Rochelle Leef fund TVNZ

SHORTLAND STREET5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Tim Hansen dirs Geoff Cawthorn, Wayne Tourell, Jonathan Alver, Katherine McRae, Richard Barr, Wayne Tourell script prod Paul Sonne s/liner/story ed Paul Hagan s/liners Max Currie, Kirsty McKenzie, Alistair Boroughs, Caley Martin med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Mariya Nakova prod sec Rori Leonard script typ Casey Whelan prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Sarah Murphy, Francis Koon 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban, Rachel Blair tech prod George Platt tech mgr Malcolm C Saunders vis mix Fran Hodgson lx assts Nick Hakaraia loc DP Drew Sturge loc gaffer Drew Wright cam ops Sheree Swale, Nigel Roberts, Rayner Cook, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom ops Andrew Revell, Andrew Lusk prod des Ana Miskell art dirs Sophie Guthrie, Ross Goffin, Andy Currie art dept mgr Sophie Elworthy stby prps Natalie Tsuchiya, Scott McDowall art dept assts Brooke Darlison, Logan Childs gfx coord Alex Kriechbaum cost des Nicola Newman asst cost des Rebecca Jennings cost stbys Katie Jones, Joss Henry, Genista Jergens cost asst Rowena Smith hair/m/up sup Tracey Nelson m/up Rebecca Elliott, Sophie Beddoes, Toni Anne Arbon asst ed/digitiser Matthew Allison online eds Steven Mountjoy, Mariano Segedin, Kevin Henderson, Adam Page, Sean Rooney snd mix Neil Newcombe snd eds Margaret Newcombe, Ora Simpson cast dirs Andrea Kelland post prod sup Sara Knight pub Rachael Keereweer pub asst Kate Jones dialogue coach Shirley Duke, Linda Cartwright asst chaperone Rachel Forman comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Amanda Billing, Alison Quigan, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Lee Donoghue, Kimberley Crossman, Kiel McNaughton, Sarah Thomson, Beth Allen, Sally Martin, Matt Minto, Anna Jullienne, Jacqueline Nairn, Ido Drent, Ari Boyland, Pearl McGlashan, Natalie Medlock, Geordie Holibar

TAMAKI PAENGA HIRA13x26mins Auckland War Memorial Museum tells sto-ries of 13 Taonga prod co Mäori TV exec prod Eruera

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

TANGAROA WITH PIO SERIES 612x26min fishing/lifestyle b/caster Mäori TV prod co AKA Productions prod/dir Aroha Shelford pres Pio Terei cam ops Richard Curtis, Mike Jonathan u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Richard Morrell prod asst Lettica Shelford n/wrk execs Reikura Kahi, Melissa Wikaire

TE KAEA30min wkday, 20min wkend Mäori language news prod co Mäori TV gm Te Anga Nathan hod Wena Harawira exec prod Lynette Amoroa asso prod Kororia Taumaunu assign eds Aroha Treacher, Taiha Molyneaux dir assts Anne Abraham, Pene Bush studio dir Mark Robinson reporters Semi Holland, Rereata Makiha, Dean Nathan, Tamati Tiananga, Rewa Har-riman, Mere McLean, Rahia Timutimu, Heeni Brown, Rau Kapa, Numia Ponika-Rangi, Kereama Wright, Jasmyn Pearson prod mgr Sharmaine Moke dept asst Ripeka Timutimu subtitles Eva Mahara, Tepara Koti, rsrchr/pres Stephanie Martin pres Piripi Taylor, Amomai Pihama

TE TEPU30min wkly Mäori language current affairs prod co Mäori TV exec prod Te Anga Nathan studio dir Mark Robinson prod/pres Waihoroi Shortland prod co Ripeka Timutimu

THE COURT REPORT15x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King ed Raewyn Humphries n/wrk Philippa Mossman

THE ERIN SIMPSON SHOW30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Tim Morton prod asst Riley Stewart ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King, Geoff Reid audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Kerry Du Pont prod mgr Jo Eade asso prod Kate Roberts prod Emma Gribble exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

THE MISSING 28x60min prod co Screentime exec prod Philly de Lacey dirs Peter Bell, Tom Reilly, Ross Peebles, Mary Durham, Rupert MacKenzie prod Carolyn Harper prod mgr Kate Moses cam ops Chris Matthews, Gavin Stroud eds Roger Yeaxlee, Alex Behse, Margaret Kelly, Lisa Hough online ed Keith McLean

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

VOLUNTEER POWERprod co TVNZ Prod Unit prod unit mgr Tina McLaren prod Julia Leonard prod mgr/res Jan-Marie Nicolai pres Jim Mora pres Julia Bloore

WAIRUA13x26min Spiritual ideals prod co Mäori TV exec prod Carol Hirschfeld prod/dir Ngatapa Black pres Mere Black prod coord Mark Ihaia prod mgr Trudy Steele snr prod mgr Sandra Richmond

WHAT NOW120min weekly live kids show pres Charlie Panapa, Gem Knight, Tumehe Rongonui eds Michelle Brad-ford, Leanne Munro, Geoff Reid, Stuart Waterhouse audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best w/robe Wilma Van Hel-lemond stylist Lee Hogsden prod coord Joshua Pollard field dir Sam Gill gfx des Harold Kho, Yosef Selim, Aaron Dekker rsrch Rebecca Browning writ-ers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Bronwyn Williams prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/work exec Kathryn Graham

POST PRODUCTiOnECO ARK1x60min HD doco prod co NHNZ for NGCI exec prod John Hyde prod/dir Mike Bennett prod mgr Suzanne Lloyd rsrch Anya Durling eds Katie Hinsen, Stu Moffatt script ed Nigel Zega snd post Stacey Hertnon

mgr Kylie Henderson prod asst Catriona Macky, Magdalena Laas

FIRST CALL52x180min prod co Trackside exec prod Mandy Toogood prod Roger Moore dirs Jamie Annan, Glen Bourne, Brendan Burns host Karyn Fenton-Ellis panel-lists Des Coppins, Stu Laing, Brett Davison prod asst Nichola Johnson eds Shane Devitt, Elena Ash, Rhyce Barker, Iain Logan

GOOD MORNING 2011prod co TVNZ Prod Unit prod unit mgr Tina McLaren prod Sally-Anne Kerr line up prod Erina Ellis script eds Melanie Phipps, Liz Smith dirs Jim Curry, Alan Henderson, Mark Owers dir asst Christina Dolman prod mgr Dawn Aronie prod asst Rebecca McKeown spcl projs Marcus Hamilton rsrchr Andrew Wood, Georgia Stephens, Simon Ragoonanan, Lucy Johnston, Sally Page rsrchr asst Ana Mules sponsorship mgr Merril Thompson adv prod Amber Smith adv prod mgr Pippa Keiller adv dir Rachael Hennessey adv prod asst Julia Lynch

HAA30min youth prod co Mäori TV exec prod Carol Hirschfeld prod Wiremu Te Kiri asso prod/prod mgr Teremoana Rapley dir Kataraina White pres Amanda Jay Ashton, Nawaia Watene, Junior Paparoa rsrchr Adam Burrell stylist Rachelle Christian m/u art Kelly Isherwood sen prod mgr Sandra Richmond

HEAD START11x26mins & 2x52mins hairdressing & make up reality competition for a scholarship prod co Mäori TV prod jeni-Leigh Walker dir Wayne Leonard pres Matai Smith prod mgr Pamela Cain

HENARE O’KEEFE1x52min doco prod co Notable Pictures prod Julia Parnell dir Ihakara Wilson writer Dane Giraud cam op Richard Harling snd op Cameron Lenart ed Tim Grocott prod mgr Anne O’Brien

HONG KONG JOCKEY CLUB3x30min doco prod co NHNZ co prod NGCI, NGC Asia, LLC exec prod Neil Harraway dir Maree Quinn prod mgr Christina Gerrie

HOMAI TE PAKIPAKI20x90min Heats, 2x90min Semi-finals, 1x2hr Grand Final. Live, interactive, karaoke prod Erina Tamepo pres Matai Smith asso prods Piripi Menary, Michele Bristow dir Greg Mayor prod mgr Shirley Allan set des Coylehall net exec Carol Hirschfeld snr prod mgr Sandra Richmond I SURVIVED 410x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec ic prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrch Marina De Lima, Stephanie Antosca, Bridget Baylin, Alissa Collins Latensa, Amy Kagelmacher, Jacqui Morice Crawford, Peter Holmes dir Sally Howell DP Kris Denton prod coord Dwayne Fowler

INDIGENOUS INSIGHT30mins indigenous current affairs prod co Mäori TV pres Lynette Amoroa exec prod Te Anga Nathan asso prod Kelvin MacDonald prod Patagaw Talimalaw prod mgr Sharmaine Moke prod coord Ripeka Timutimu

MEET THE LOCALS SERIES 320x4min family wildlife series prod co TVNZ prod unit TVNZ n/work exec Philippa Mossman exec prod Tina McLaren prod mgr Stewart Jones pres James Reardon, Lesley Judd

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

NATIONAL WAKA AMA SPRINTS 201011hrs Waka Ama racing prod co Mäori TV Wayne Leonard Highlight prod Andy McGarth pres Hoturoa Kerr, David Jones prod mgr Sue Killian snr prod mgr Sandra Richmond

NATIVE AFFAIRS60min weekly current affairs prod co Mäori TV gm Te Anga Nathan exec prod Colin McRae prod Wena Harawira prod mgr Sharmaine Moke dirs asst Pene Bush snr reporters Annabelle Lee-Harris, Makere Edwards, Iulia Leilua, Chas Toogood rsrch Kelvin McDonald pres Julian Wilcox

NEIGHBOURS AT WARprod co Greenstone Pictures ho prod Andrea Lamb asst prod Kathryn McMillan rsrchr Katrina Inkster

Production

Listings

http://www.arri.com.au

PMWF3Super 35mm Digital Cinematography Camcorder

Sony’s PMW-F3 Super 35mm Digital Cinematography Camcorder represents a breakthrough for independent producers and filmmakers in terms of features, performance and price.

The new PMW-F3 Camcorder is designed for digital production environments that seek the creative flexibility offered by a large frame sensor - including commercial, documentary, television and feature film production.

Models include:

• PMW-F3K Camcorder (with 35/50/85mm prime lens kit)• PMW-F3L Camcorder (without lenses)

More information at: sonybusiness.co.nz/pmwf3

Key features

• Exmor™ Super 35mm CMOS image sensor• PL Mount for full compatibility with 35mm Cine Lenses• Dual Link HD-SDI option for 10bit RGB uncompressed signal output• High-quality uncompressed audio recording• Over- and under-speed recording• High latitude S-Log "digital negative" process• ISO 800 sensitivity• Optional inexpensive lens kit (35, 50 and 85mm T2.0 primes)

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110204_onfilm_pmwf3.pdf 4/02/2011 12:00:59 p.m.