NZTECHOSPRING 2011 | ISSUE 50 - The Screen Industry Guild
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NZTECHO
SPRING 2011 | ISSUE 50
The New Zealand Film and Video Technicians’ quarterly
Drama on our streets
Remembering and recreating
the Springbok tour
Christchurch:
Remembrance and recovery
Reaching 50:
Recalling the beginning
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EDITORIAL CONTENTS
Ah the vagaries of editing NZTECHO. I’ve been schooled on more than
GUILD NEWS & VIEWS
one occasion by one of our tame professional-writers about what does and
does not comprise a ‘real story-angle’. I’ve soldiered along, part-discovered, 2 President’s rave
part-developed the angle for a promising story only to be scuppered by the Pres Alun ‘Albol’ Bollinger on the latest immigration and getting paid
schedules of publicity departments. For this issue I thought: something’s 3 Behind the scenes
gotta give. This is the 50th Issue of NZTECHO since its inception. A Golden Executive Officer Fritha Stalker reports
Issue. Accordingly there should be some pretty special content. Eek! Turns
out we got there, and as usual it took a village, thanks everyone. INDUSTRY
50 issues of NZTECHO and the Guild still under the steady helm of President 6 Shooting Rage – then and now
Albol! I searched the NZTECHO archives (see page 14) to check out early Capturing the 1981 Springbok tour and recreating it in 2011
issues… In May 2002 when “Old number one” hit letterboxes, Albol was
10 Fixing a broken television set
wearing a shiny-new President’s mantle, having just been handed it by David
CTV recovers, while remembering those gone forever
Madigan. Then editor Tim Pope’s description of Mr Madigan as ‘ferociously
hard working’ had me smiling (some things never change) and thinking there’s 16 In focus: Vanishing spectrum
much to be learned from our first editor’s easy, engaging style (not to mention 18 News reel: Government updates, online retro TVCs and crew interviews
wit). I have an ingrained tendency to be overly didactic (excessively instruc-
tive). (Some blame my previous life as a lecturer – in truth I’ve always been like TECHOSPHERE
this…) Still, I can be entertaining when I write, I just have to figure out how to
4 Fine print: Ever feel like you’re being used?
balance it with creating material fit for public consumption!
5 The treatment: Book review
I am really pleased to be able to present the CTV story in this issue. It brings
14 Retrospective: 50 issues and counting…
both hope and recognition of remarkable survival and recovery. I’ve no doubt
that it will move everyone when they contemplate the list of those lost, that 17 Point-of-view: No pressure, mate
they be remembered. 19 Extreme close-up: Members profile – Zara Hayden
Also in our memories are the impassioned times of 1981, immortalised in 20 Members with benefits: Interislander discounts
various ways – the most recent of which being TV drama Rage (just about to
air as I write). Memories in the latest tome about NZ film are given a thought-
ful once-over by a veteran rabble-rouser who also features in the Shooting
rage piece. In the next – summer – issue we hope to explore more about the
way we all work together to retell stories of New Zealand’s past. In this one
I hope you enjoy a taste of the many stories surrounding that ill-fated Spring-
bok Tour as you contemplate the current Rugby World Cup from whatever
place you view it…
There’s some important admonishment/call to arms in Fine print (page 4),
and I suspect discomforting (but complementary, and equally important)
reading in Point-of-view (page 17).
When your emotions have had enough for a moment, have a bash at getting Cover shot: David Paul and Brad Hurndell working with the SHC controller. Credit: Hanna Ley.
your head around radio-spectrum issues. If more outside the wireless users
community don’t get to grips with this voluntarily, they may find it thrust upon ISSUE 50 SPRING 2011
them… And, don’t forget to scan the new members list, these are the new Editor Advertising
blood here and they need your camaraderie and congratulations… before we Fritha Stalker Advertising queries, please contact Fritha Stalker on 09 302 2202,
get them to work! Publisher/advertising advertising@nztecho.com or 0800 TECHOS. For a copy of our ad specs
and rate card, please visit our website.
Fritha Stalker
Fritha Stalker Design
Editor-at-large Justin Westgate / biote All contents are copyright New Zealand Film and Video
Technicians’ Guild, 2011, unless indicated otherwise. May not be
Printing reproduced, copied or transmitted in any form without permission.
TP Printing Services Ltd.
The views expressed in this publication do not necessarily reflect the
We appreciate the support of: Contributors views of the New Zealand Film and Video Technicians’ Guild.
Waka Attewell
Haresh Bhana
Steve Barr
Stephen Buckland
Alun ‘Albol’ Bollinger
Carolyn Brooke
Aidan Evans
Zara Hayden
Tony Forster
Tim Riley
www.nztecho.com
2 | NZTECHO Spring 2011
PRESIDENT’S RAVE Award-winning cinematographer and committed West Coaster,
Alun Bollinger has been President of the Techos’ Guild for an age.
Short jobs and short change
50 issues of NZTECHO, that’s quite a mile-stone. one not charge a cancellation fee which includes the loss of income
Big thanks are due to Tim Pope and Tony Forster, our first two editors, from that equipment?
for bringing us this far! After three months and a flurry of e-mails the situation has come to a
Immigration is an ongoing issue for the Techos’ Guild with the system as resolution. The soundie’s invoice has now been paid. [Great outcome,
it is at present proving to be confused and inadequate. I hear you sigh with relief. Well, yes, I got a bit happy myself. But before
we totally lose sight of a reasonable world, ask yourself: Do you think the
I’ve heard it suggested that any job of 14 days or less should not require
payment came with interest covering the period that the soundie waited
work permits for any crew coming in from off-shore. This would cover
for payment that – after all – they’d been due all along?… EO]. n
most incoming commercials and a great deal of other screen produc-
tion work being done in this country. The argument can be made that
this is only ever likely to mean a DoP coming in along with a director
and producer. But if no work permits were required for these ‘short’
jobs then any crew or cast member would be allowed into the country,
no questions asked, without any discussion and without any need for
consideration of who might be suitable and available locally.
Such a scenario clearly goes against the spirit of our immigration law
which is primarily designed to protect our borders and put the Kiwi work
force ahead of those from off-shore.
It can be argued that allowing a more open border policy could actually
be good for local business, but it can also be argued that once we lose
sight of who’s coming in to work here we are in danger of becoming
no more than a service industry in our own country. On top of this there
really is no other reliable way of ensuring visiting productions make
contact with the NZ screen production industry which is necessary if we
are to take good care of our locations and keep a watchful eye on health
and safety issues within our industry. The immigration/work-visa applica-
tion process also provides an avenue for gathering important information
about what screen production is taking place here in Aotearoa.
It will always be a balancing act, weighing up the benefits of off-shore
crew coming in against potential work gains and/or losses for local
crew. I believe that balance should not be taken out of the hands of
those most affected by the process.
Disturbing news about an Australian production company which was
working on a commercial here in NZ earlier this year. It seems the
Australian producers have been reluctant to pay cancellation fees to the
soundie who was working on the job but who’s services were cancelled
with no notice and through no fault of their own. The soundie submitted
an invoice for work completed, and work cancelled at no notice, but the
Aussie producers argued that they should not have to pay any cancella-
tion fees for the soundie’s equipment.
Would any of you running a truck full of equipment accept a cancellation
fee which covered only your personal fee with no compensation for the Mick Sinclair
loss of income from your equipment? A techo’s equipment, be it sound
recording gear, a truck full of grip equipment or a wardrobe bus, is a ma-
jor investment for the person who owns and hires out that gear and as
Ph +64 9 360-9995 www.sinclairblack.co.nz
such is also a major component of that person’s income, so why would
NZTECHO Spring 2011 | 3
BEHIND THE SCENES Previously an academic nurturing young biologists at Auckland University,
Executive Officer Fritha Stalker now ably tends the Techos’ Guild
What a lot going on leading up to this issue!
Line producers got a bit of a hearing in the latest On Film. Claims that Yes, you have to do it individually. Unless you fancy collective bargaining…
“crew keep raising their rates” and “just keep shifting their rates random- Ah the old chestnut, $NZD value is the primary driver for levels of
ly” dumbfounded me. Equally the inference that crew rates contribute international production. It’s oft said because it’s true. To say we should
to a quoted 20% increase in costs since 2004 left me scratching my adjust our immigration policy to avoid inaccurate whisperings overseas
head. How on earth, I want to know, does this match consistent reports is farcical. There’s not much we can do about business decisions based
that crew rates have remained unchanged for over ten years? What’s on hearsay. Our industry can only be so big, and we gain recognition for
going on here? Survey time, would be an obvious rejoinder. Alas, survey what we do well. Total revenue will never tell the story of screen industry
response rates are famously low… success. Aiming for all screen workers to ‘make a living making films’ (TV,
…Segue to agreement with one point (made by Iris from Batch film): crew TVCs, etc) – with emphasis on living – that’s a goal for our niche-market
need to be more proactive. By the same token the nature and level of nation. South East Asian countries might be putting up a good fight for
responsibility reasonably asked of crew will always be markedly differ- pieces of the same sandpit as NZ line companies, but god forbid we
ent from that asked of producers who elect to lead the show. Not least ever use countries devoid of basic human labour protections as yard-
in the post-Hobbit Law landscape. Many producers – particularly those sticks of our success! There’s a reason NZ shoe manufacture is limited…
supporting wholesale ‘opening up’ of immigration and removal of other and doesn’t include manufacture of running shoes for Nike or Adidas.
levellers – need a dramatic rethink to genuinely engage in good-faith with Some reading in this issue (Fine print, page 4; Point-of-view, page 17)
independent contractors. Under-quoting, then levelling blame at altered might be a bit uncomfortable. Why? There are many possible reasons
contractor-rates is naïve and betrays an ‘employee-in-contractor’s-clothing’ not to explore, in conversation, or your own mind, the issue of bullying at
attitude that is the dirty little industry secret. How about seeking independ- work. Maybe it feels like branding yourself a victim, or a moaner. Better to
ent contractors’ agreement on rates for a fixed period of time so jobs can continue day in, day out, as a target? Or allowing the bullying of others?
be accurately quoted in the fast-turnaround world of international TVCs? Sounds a bit dramatic. Well all I can say is: it bloody well is! I came to
the Guild precisely because my former work place at Auckland University
was a breeding ground for successive (management) generations of bul-
lies. If you have any doubts, consider this: despite a 50% pay drop, and
living pay-to-pay with no other income or assets, I’ve been infinitely hap-
pier here, and wouldn’t change my decision for anyone. It’s not always
about the money.
How come then, I can say crew do not so much as have their rights
wrested off them, but rather ‘pop them in a box, wrap a ribbon around it
and hand it over with a smile’ (or is that a tug of the forelock?). Is ‘cultural
cringe’ still a big part of the way we operate? The inability to stand by
ourselves, our work and say ‘hell yes it’s good!’ and ‘hell yes it’s worth
sticking up for!’ I don’t know the answer, and I don’t work out there with
you, but I know you need to consider what the answer might be.
It’s a bloody big puzzle. How do we make our industry successful?
Finding the answer means asking: How do we measure success in our
industry? This is a powerful key to unlocking other answers that drive
future directions – e.g. do we value public broadcasting (does success
mean telling our stories?), what should our policies for immigration be
(is success volume of work, or quality of jobs on visiting international
shoots?), how much safety are we willing to gamble with to get the job
done (is success everyone going home safe at the end of a shoot?).
The other puzzler is this: why is an inherently collaborative industry beset
09 818 1981
by apparent disagreements between departments, those below-the-line,
www.dolly.co.nz and those above? I suspect there’s a small matter of mutual understand-
P.O Box 8068, Symonds St, Auckland 1150 ing to use our collective smarts to find the best ways of ‘getting the
9A Akatea Rd, Glendene South, Auckland 0602
job done’. n
4 | NZTECHO Spring 2011
FINE PRINT Tim Riley is a lawyer with Dominion Law, a specialist entertainment law firm that
recognises that creative people need creative lawyers.
Ever feel like you’re being used?
If the last couple of years have demonstrated anything for techos, it’s that one wanted to talk about it or make a fuss. This is a peculiarly NZ attitude
you need to stand up for yourselves. It’s difficult in an association com- I think. It reminds me of an anecdote told by Michael J Fox when he lived
prising such a wide diversity of occupations, but you really need to back out here for the filming of The Frighteners. He relayed how one lunchtime
yourselves and, to use that old union phrase “be strong”. on the set he was standing talking to a couple of people and eating his
There are a few reasons why I say this. A few instances where I feel you lunch. He’d been in that same position for five or so minutes when some-
have allowed yourselves to be used for other peoples’ purposes and have one hesitantly tapped him on the arm and very apologetically explained
not worked out what is best for your own interests. that he was standing with his foot in their plate of food, and would he
First, you were prevailed upon by Richard Taylor to march through the mind moving it so they could finish their lunch. He could not believe the
streets of Wellington in protest at the actors’ industrial action on person had not just yelled at him as soon as he put his foot there – “hey
The Hobbit, at a time when the key players, including the government, get your fucking foot off my plate!” Which is how, he said, it would have
all knew that the dispute had been settled. And the only reason that gone down in America.
information was not made public was because Peter Jackson did not So I think that’s part of it, but I also get the feeling that people have a
like the wording of the press release announcing it. perception that if you dispute something in the screen industry you will
Then, to thank you for your support, The Hobbit production company be seen as a troublemaker and will not get work in the future. If this is the
persuaded the government to pass an urgent change to our employment case it’s precisely the wrong attitude for a number of reasons. First, of
law specifically to take away from you a fundamental legal right you had course, how can you fix something that is wrong if you don’t take issue
had since the birth of your industry. Hey thanks guys, no problem. with it? And if you consistently roll over rather than take action to remedy
And to complete the trifecta, we all subsequently discovered, due to the wrongs people will just continue to take advantage of that. Sure, people
publication of an email from Peter Jackson to Gerry Brownlee, that the that are always complaining over trivial things are not going to be persua-
actors’ dispute had never had any bearing on the Warner Bros’ decision sive. But in my experience, people that stand up for themselves and fight
about where to film in any case. Triple whammy! for what they think is right, are ultimately respected.
But wait there’s more. After a very worrying time for many of you, who Aside from anything else, it’s not a psychologically healthy way to work.
were engaged to provide services to the Bollywood film Players, you then It conveys a victim mentality. I think there are some aspects of our industry
had to watch John Key bumbling his way around the set of that very film in that work to produce this affect. Work can be hard to come by some-
Mumbai promising to do what he could to “make it easier” for productions times, and obviously you need to feed the family. The industry is very
like that to come here. And – as if he had no idea that immigration was a hierarchical (although from what I have heard, a lot less hierarchical than
hot topic in our industry, and that Players Film Ltd had reportedly brought the Indian film industry. At least you don’t live in slums I guess…).
Indian nationals into the country without following the proper immigration The egalitarianism that we pride ourselves on can be used against us. We
process – he went on to say “there’s a number of things, we might help are consistently told how accommodating and flexible our film crews are,
with immigration, speed up the process there…” Does this man not and how this is one of our great selling-points, compared to the overly-
have advisers? regulated conditions in other countries. That’s all very well, but don’t
One thing that struck me when I got involved in the Players dispute was believe too much of the hype. You are talented, resourceful, and creative.
the climate of secrecy surrounding it. A number of people had very seri- That’s why TV and film producers want to hire you. You don’t have to be
ous concerns across a range of aspects (including not being paid), but no docile to go with it. n
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NZTECHO Spring 2011 | 5
THE TREATMENT
Waka Attewell considers how this latest tome stacks up when it comes to telling the story of New Zealand film history.
A book shop. I fold my body in from the a cash flow. This is a rich
winter blast; in pride of place is New Zealand tapestry.
FILM – it’s bold and brassy, I go straight to Chapter six anchors the film
the index. business in the land, becom-
Oh – um err, oh well… I must be amongst ing a viable industry with a
the ‘W’s. future. It’s a familiar room –
With an eclectic mix of contributors, the the next two chapters should
vibrant cover – images are from films by also be compulsory reading
directors of note – says ‘come on in’. The for any film student… It’s got
first three images are easy to pick, the last great cross-reference and
took a bit of research. Good thing I had the book of speaks openly about the tax
New Zealand Film – An Illustrated History to refer to! break years when feature films made money for their investors even when
It’s a New Zealand history book and I’m looking for the ‘national cinema’ they weren’t released… I’m enjoying the detail.
bits. You know the sort of thing? Our films. About us. Bruno Lawrence and In a country where the right wing are now using the term ‘Maorification’ –
the black-and-white still on the back cover suggests a time before time – what of Maori film history? Suffice to say Maori get a mention, they stare
already I feel there is a sense of ‘from here to there’ and I haven’t left out from the bush in Hollywood expectation of a ‘native’ in an exotic land.
the shop. In the 50s Maori are assimilated into Pakeha culture as the films of the day
It’s a brave soul who speaks the history of anything, as history is an inter- suggest the old ways have past and Maori are becoming more Pakeha…
pretation and a shifting concept. I continue to marvel at the way that the After all it’s a history book and the conquering side make it Their History
unorthodox becomes orthodox… just give it time. That’s what history has eh, e hoa?
– a lot of time on its hands. By the time you hit chapter ten Jackson is making box office successes in
Roger Horrocks’ intro is great stuff – the struggle to make films started that matinee style… Kind of like we remember from when we were kids.
more than a 100 years ago, did you know that? Every film student should But New Zealand history? The bookend is the story of Boy and its success
read this on day one of their course, and then again when they graduate. in local cinema. Boy’s inability to travel far from the shore is worn like a
The 29th November 1895 is a good place to start this film journey: The badge of courage rather than seen as a failure… And between the lines
very first moving pictures exhibited on Auckland’s Queen Street. Then the of a marvellous well-researched and written book sits a question: Should
wars, travelling cameras shooting local stuff, the beginning of government we be seeking the blockbuster or looking at our own backyard, making
involvement with the first film censor (1916), the call for a British film quota ‘national cinema’?
as the Americans started their domination (1929), regular New Zealand A nerdy kid farted and burped his way into our cinema consciousness…
news reels from an Australia Company in 1930’s and the beginnings of then he took over Hollywood. Who could have known? The Jackson Effect
the NFU (National Film Unit) in Mirimar (1936). is a perfect chapter for a perfect time, sitting alone. It had to be mentioned,
It’s a great read about beginnings, failings and evolving trends. By the and the large-budget picture is leading the way in computer-generated
middle of the book I’m starting to recognise people and by chapter five we movies. It’s not about us, really… But it did happen in a country where
get into Pacific Films and very familiar territory – Morrow Productions and recently the Actors ask to be included in the wealth, and instead a star-
independent films as TV begins. Peach Wymss Astor Productions and TV struck Government ignored its own workers to strike a deal that will cost
commercials bring a bit of discipline to the business as a way to establish the taxpayer $35m. We wont be writing about that just yet, though…
continued on page 13
6 | NZTECHO Spring 2011
CLOSE-UP
Shooting rage –
Above from left, clockwise: Hamilton In 1981, protests over the Springbok rugby tour and apartheid
protests led to cancellation, 25 July 1981;
Auckland: makeshift armour vs police divided New Zealand. Independent filmmakers played a central
riot gear; police and protestors assemble
around Eden Park; drama and chaos on role in the telling of stories about that fateful time.
urban streets; pitch invasion and flares
shut-down the Rugby Park, Hamilton,
game; ‘Molesworth Street batoning’
Thirty years later, as New Zealand prepares to host a Rugby World
outside parliament in Wellington, the first Cup, Tom Scott (producer and co-writer), Emma Slade (producer),
time police use batons on protestors.
Opposite page, left: Tom Scott, DoP Grant O’Fee (co-writer), Danny Mulheron (director), and David
David Paul and Brad Hurndell getting
to grips with the SHC controller. Paul (DoP) orchestrated the telling of Rage – a television drama
Credit: Hannah Ley.
Top-right: David and Brad with the
love story, set against the backdrop of the Springbok tour.
SHC controller. Credit: Hannah Ley.
Bottom-right: David and 1st AC Steve Barr spoke with some key players about how they shot the
Charles Edwards setting up the Arri
Alexa with the Easyrig body harness. original tour, and how filmmaking has changed since then.
Credit: Kat Grooby.
NZTECHO Spring 2011 | 7
then and now
Part One: Then, 1981 Attewell and the Vanguard boys [Alister Barry,
Russell Campbell and Rod Prosser] and Gerd
Under the radar of the establishment of the
Pohlmann was involved.
time, a small number of intrepid filmmakers
sought to record the chaos and drama associ- Waka Attewell: We were a country that was
ated with anti-apartheid protests triggered desperately trying to find its identity. We were
by the 1981 Springbok Rugby Tour, from an close to civil war. There were quite a few of us
independent perspective. who established the freelance industry in the “It was an amazing
70s. We were living paycheque to paycheque,
Much of the independent footage went to
commercial to commercial. During that time, moment when a
create Merata Mita’s influential and acclaimed
documentary PATU! creating an independent
there was no funding body like NZ On Air, so bunch of independent
a lot of people were doing self-funded things.
telling of what occurred during this period.
We were of the 70s generation that didn’t filmmakers pulled in
Filmmakers Waka Attewell (cinematogra-
pher), David Paul (cinematographer), and
think of television as a commercial venture. all of their resources...
Never in our wildest dreams did we think that
Gaylene Preston (writer/producer/director) the commercials would become more impor- so that one filmmaker
talk about the trials and triumphs of film- tant than the programmes.
making during this dramatic period of New could go away and cut
What cameras were you using at the time?
Zealand history.
Waka: Actually, the camera I used is in the
the film she wanted
David Paul: In 1981, I was a camera assistant
at TVNZ in Wellington. I was never allowed
Archives. A 16mm NPR Éclair. Of course, we to make. That spirit of
were doing our own loading, of 10-minute
to go out with the news crews; they couldn’t
rolls. There was something really honest cooperation is worth
have looked out for me. The sound recordist
quite often became the eyes in the back of the
about those 10-minute rolls of film. Now, you remembering and
stick in a P2 card and roll for half an hour,
cameraman’s head. On the other side of the
kind of like hosing everything down and not treasuring.”
fence were people like Gaylene Preston and
Alun Bollinger, the independents at the time
thinking it through. But with the 10-minute Gaylene Preston
limitation, you were thinking in sequences.
who were out there shooting.
You’d make a lot of decisions before you
Gaylene Preston: We were independent turned the camera on.
filmmakers and had to work outside of the
Gaylene: Basically, we used whatever cam-
institutions. Up and down the country, there
eras we could lay our hands on. Waka and
were a lot of people shooting film, some of
I always seemed to end up with the worst
it was… well, we’d get ours from TVNZ…
cameras. There were a few Arris – there are
Everybody kind of got their film stock their
photographs around with cameras – I think
own way. I was working down here with Waka
Roger Donaldson even picked up a camera
8 | NZTECHO Spring 2011
for the last test up in Auckland. These days, to raid the Labour Party’s film. I thought that
there would be so many versions of it be- was a bit of insurance. (laughs)
cause everybody would be getting it on their How did PATU! come about?
cell phones and it would be put up on the
Gaylene: Merata Mita got in touch with me
internet.
well before the Tour. As it escalated, it became
“I didn’t under- David: We were all shooting on CP16 film apparent that she should be given all the foot-
cameras, which were our standard news cam- age. I don’t think there was ever any argument
stand at the time eras of the day. The TV cameramen weren’t about it.
but now I do: the trying to shoot from the police perspective; in
Waka: There were about sixteen different
fact they were getting quite upset about how
individuals. We all knew of each other, so it
independent film- the footage was being used on the news, not
became a question of choosing someone who
showing what was really happening. Wayne
makers were so had mana to pull the whole thing together.
Vinten, who was a news cameraman at the
Gaylene: We had an overwhelming kaupapa
passionate about time, really took it to heart and wanted to
that we wanted our footage to go to one film-
tell the truth. He would drive outside of his
telling the truth. It’s regular jurisdiction to get as much on film as
maker to make a cinema feature. So that’s
exactly what happened. It was an amazing
a real privilege for he could.
moment when a bunch of independent film-
Gaylene: We used film stock that we could
me to make a film lay our hands on. Someone had a mate in
makers pulled in all of their resources, put it
all underground, then put in the same place
about a period in the news department at TVNZ so a lot of
so that one filmmaker could go away and cut
the film stock we used came off the back of a
the lives of a lot of lorry. (laughs) Once we’d shot it, it had to be
the film she wanted to make. I think that’s a
proud moment for the NZ film industry, and
these people I hidden. If you sent your films to be processed
that spirit of cooperation is worth remember-
in the laboratory, the police would seize the
look up to.” footage in order to go through it and arrest
ing and treasuring.
David Paul people. I think Rod Prosser put his film under Part Two: Now, 2011
an auntie’s house. I hid our material in boxes In May 2011 streets north of Wellington City
in Jamie Selkirk’s cutting room, with exposed roiled with the sound of actors re-enacting
film for the Labour Party commercial. So if Springbok Tour protests, on location for
they wanted to raid to get our film, they had the television drama Rage. This NZ-on-Air
Platinum Fund $2.8m production dramatized
Left: Waka behind the NPR those troubled times with the benefit of tech-
Éclair on TVC shoot, with nology that has improved spectacularly in the
the Ranfurly Shield, in the ensuing 30 years.
Canterbury rugby dressing
room (c1982). David Paul: Rage is a love story, a social state-
Credit: Barry Durrant/The ment, a look at our history. It’s a moment in
Dominion time that was part of shaping who we are as a
nation today.
Our opening scene is epic. The movie starts
in South Africa, it’s a pretty intense scene
because of the implications of it – it’s Steve
Biko, dead. The death of Steve Biko was huge,
NPR Éclair off inside magazines with pre-threaded
historically. Because of this helicopter rig
film-loops; quiet operation (NPR = Noise-
This revolutionary camera heralded the from Shotover Camera Systems we’ve got this
less Portable Reflex) came courtesy of
development of independent film by big sweeping shot across the savannah (which
a direct drive motor (no belts or gears), is Waiouru but looks like South Africa), with
replacing earlier models too large, noisy and a special mechanism to ensure film this vehicle driving up a dirt road, and it looks
and cumbersome for ease of use on moves quietly inside the camera. Factory- great because the land up there is wide and
location. The Éclair provided convenience, installed wireless crystal sync sound big. If we didn’t have this chopper mount we
freedom and stability for shooting outside was another NPR Éclair first, and with wouldn’t have the same scene.
the studio: light enough (éclair = light) for the development of Super-16mm in the
the — now classic — hand-held position
It’s a fascinating rig. It’s a six-axis thing; they
1980s the Éclair was first to be modified can turn it in any direction. I only had 5 min-
resting on the operator’s shoulder; 400- for its use. utes to play with it before we shot. I jumped
foot spools of film instantly snapped-on/
into the helicopter with Brad Hurndell fromNZTECHO Spring 2011 | 9
Shotover. He showed me through it really have people in NZ who are early adopters of Above left: David Paul and Charles Edwards
quickly, we took off. It was such an easy sys- new technology and brought these cameras in, shoot a Hercules at Wellington NZ Air Force
base. Credit: Kat Grooby.
tem to use – here’s your zoom, here’s all your and we get to use it. Rage is benefitting hugely
Above right: (from left) David Paul, Tom Scott,
controls, here’s a beautiful joystick which isn’t by having this camera.
Danny Mulheron, Emma Slade and Brad Hurn-
fiddly like a lot of joysticks are. We needed How will the new cameras change filmmaking? dell on wrap of the first day’s epic helicopter
an epic opening, and we got it because these shoot (Waiouru). Credit: Hannah Ley.
David: With the Alexa, if you’re a bit off with
guys. They stepped up and delivered.
light, you can really rescue the image incred-
How has camera equipment changed since ibly easy. We were running out of time for a
1981? day scene of protestors being chased by rugby
David: I did a camera test for Rage. It was clear supporters. We had run out of light but we
from the script that it shouldn’t be shot on the had to shoot. We shot the scene from several
Red, because it has a look that I felt was not angles with incredibly low light, but on the
suited to this film. It needed a look that was Alexa it still looks like daytime.
slightly edgy and had a little bit of attitude, so The post-production path is different and
we tested the Sony 9000PL and the Alexa. We saves money and time. We created a very
were blown away at how good they both were. simple post process for the Alexa. It goes onto
Waka: The Alexa is the most perfect camera hard drives, we do a quality control sheet,
on the planet. You suddenly feel like you’re Peter Skarratt puts it into Avid files and bins,
back to being a cinematographer, where if sends it straight on to the edit suite. We keep
you’re shooting on the Red you’re spending a couple of copies of the raw footage (which
all of your energy getting the thing to do what looks very flat and milky, like a negative)
you want it to do. With the Alexa, it’s like which we’ll grade from, but the edit suite gets
shooting film. It’s the difference between a a nice image that has the colours and con-
German company that make cameras and an trasts back in it. They edit in HD, make an
American company that started off making EDL at the end, they’ll do a conform, then go
sunglasses and decided they wanted to make back to Park Road to do a shot-by-shot grade
a camera. There’s something Germanic and from the original footage.
solid and great about the Alexa. Any last thoughts?
David: The Alexa has been a dream. It’s a really David: I didn’t understand at the time but now
good camera, well worth the hype. I’m wary I do: the independent filmmakers were so pas-
of hype around cameras, but it’s stunning. We sionate about telling the truth. A lot of these
had a lot of stuff in the back of a van, in small people, they’re the people we look up to now.
sets, so camera size was very important. The They established our film industry for the last
Alexa has a beautiful low profile, small camera thirty years. It’s a real privilege for me to make
body, and it just sits on your shoulder really a film about a period in the lives of a lot of
well and can fit into tight spaces. these people I look up to. n
Queenstown Camera Company brought the
Alexa in very quickly. It’s a privilege that we RAGE had its debut on 4 September on TV1.10 | NZTECHO Spring 2011
WIDE-ANGLE
Fixing a broken
television set
Canterbury Television was brought to its knees in the devastating earthquake that
hit Christchurch on 22 February 2011. Along with the tragic death of 16 staff and
the complete destruction of its CBD headquarters, the station lost its equipment,
infrastructure, business records and programming. Yet miraculously this small,
regional channel was back on air in just under two months. Carolyn Brooke talks
to surviving CTV editor Stephen Botting and broadcasting specialist Jef Grobben
about hard work, resilience and how to build a television station.
Despite a heavy workload, often running on
“All of a sudden empty and plenty of emotional turmoil, CTV CTV lost 16 staff members in the
we were a focus of editor Stephen Botting is grateful the channel February 22 earthquake. They are:
is back on air after its complete destruction in Matty (Matthew) Beaumont – branding,
attention. The CTV the magnitude 6.3 earthquake. Working for a scheduler
building collapse television station that went from full operation
Andrew ‘Bish’ Bishop – technical manager,
one day to nothing the next is tough going.
was an icon of the camera, audio manager, editor, director
“We only had two cameras that were out of
the studio at the time, we had nothing,” Rhys Brookbanks – journalist
earthquake and this Stephen says. Sue (Susan) Chuter – sales
made rebuilding the Wearing a few different hats is part of the
Joanna Didham – sales
job at any small broadcaster but Stephen says
station even more losing 16 colleagues in one go took it to a Sam (Samuel) Gibb – news producer/journalist
important.” whole new level. “You just pick it up because Jo (Joanne) Giles – business development
there is no one else to do it.” Stephen says. The manager, presenter
nine surviving staff somehow managed to
Siwen Huo – presentation scheduler
honour a contract to cover a dressage event the
weekend after the earthquake. “We still did it. Shawn Lucas – production manager, former
We borrowed a deck. One of the editors who presentation director (for many years)
died has his own deck but the police had it for Donna Manning – presenter, sales
fingerprinting for identification. I had to edit
Isaac Thompson – editor, audio, camera,
from my computer at home.” director
There were immediate talks of rebuilding,
Mandy (Amanda) Uriao – sales
but it was a few weeks before owners Allied
Press made the decision. In between there was Valeri Volnov – IT manager
a week of funerals with staff going to two on Murray Wood – manager/co-owner
most days. Stephen says he and others were
Stephen Wright – marketing
keen to get back to work despite the sadness
and uncertainty. An offer of a boardroom at Paul Wu – accountant
Tait Electronics was gratefully taken up untilNZTECHO Spring 2011 | 11
a storage area in the Mainland Press Building
(also owned by Allied Press) was identified for
CTV’s new home. “All of a sudden we were a
focus of attention. The CTV building collapse
was an icon of the earthquake and this made
rebuilding the station even more important.”
A continuous loop of public service informa-
tion about the quake and CTV, organised by
Auckland-based broadcasting specialist Jef vision-switcher package BroadcastPix Granite Top: CTV editor Stephen Botting is grateful that
Grobben, played out on the channel’s UHF 2000. Upgraded software includes Cut Pro the station is back on air.
frequency from 24 February until 18 April Studio 7 and Adobe CS 5.5. “We have gone Credit: Jabulani Ndebele.
when news programming went to air. Stephen from a very workstation-based workflow, to a Above: Filming lifestyle/earthquake recovery
says it was a significant move. “Jef put us back network-based workflow. It’s modern while a show City Life with Dave Sandom on camera
up on air within days. At the time we didn’t and Kineta Knight presenting.
lot of the other stuff was quite old. We’ve got
know how it was happening but it was great. Credit: Stephen Botting.
better gear than we did before and are much
It was good to see there was something there.” more future-proof.” A tapeless workflow is
The channel now runs repeated programming now in place and works alongside a media
24/7 with staff onsite 8am to 5pm Monday to server, storage, browser and archive system.
Friday. CTV generated content includes daily Stephen says everyone is trucking along and
news, lifestyle, shopping and sport shows, having about 13 contractors around helps a
although initially programming on loan from lot. Receiving emails from viewers happy to
production companies kept it on air. have the channel back are also appreciated by
Stephen started with CTV almost six years ago the team, as are the flowers and messages of
after working as a technician at Magnum Mac support that are still received. Even baking has
and going to broadcasting school. In recent been brought in. “We’ve become a lot closer
times he has become somewhat of a technical because of what has happened and what we’ve
manager around the place, dealing with daily been through, although it doesn’t seem as
issues and teaching staff how to use the new relaxed and fun as it used to. There is still a lot
gear. Editing systems include two suites, two of uncertainty. Decisions have to be made and
MacBook Pros, two Mac Pros and graphics we still haven’t got all the equipment we need.12 | NZTECHO Spring 2011
will do, we’ll stick a wall there, one there and
one there. We’ll paint it this colour and put
some flooring on the floor and we’ll get back
on air whatever it was you were broadcasting
before.”
Getting content to air essentially involves a
server, playlist software, an ingest mechanism,
scheduling tools and a transmitter, he says.
“If you need to just stick something on air
then you can do it in a day if you’ve got the
bits. But the technology we had to put to-
gether had to be sustainable without requiring
a huge influx of staff.”
An initial challenge was finding a space with
adequate ceiling height and power supply for
air-conditioning, lighting and other broad-
Above: The new control room with Stefanie When you don’t know what the future is it’s casting equipment. An area in the Mainland
Banbury and Doug McCammon at work. hard to feel comfortable.” Press building in Harewood, Christchurch
Credits: Stephen Botting. proved suitable and a floor plan was drawn
Right: Broadcasting specialist Jef Grobben
Behind the technical rebuild up with the basic construction completed
led the CTV rebuild. Auckland broadcasting specialist Jef Grob- within three weeks. “There were some very
Credit: Carolyn Brooke. ben’s involvement with CTV started when good trades people.” The new facilities
he organised the loop of information to be include a studio, MCR (master control
played on the channel in the days after the room), presentation area, voiceover booth
earthquake. He linked it from his Epsom and two edit suits. There are also a couple of
play-out facility Broadcast Inc after calling in offices, while the server and news rooms are
some help from around the industry includ- shared with Mainland Press. “The thing that
ing from Kordia and Sky Television. Like had to get going first for CTV was its news
many watching the aftermath roll out on the production, as it was the bulk of its program-
news, he wanted to help. The go ahead for ming, that’s what it made it uniquely CTV.”
the rebuild was given in early March and Jef When it comes to television, he says, content
was tasked with the job by Allied Press. “The should always come first. “Content is king
challenge with CTV was that essentially it and carriage is queen.”
wasn’t a rebuild; it was cold start of a brand Jef ’s nearly 30 years in the industry includes
new television station that had a potential helping to start Juice TV, government initia-
audience and a traumatised group of staff tive Aotearoa Television, the Documentary
and no real business plan,” Jef says. Normally Channel (now owned by BBC) and The Arts
you’d do it the other way around building Channel (now owned by Sky TV). He also
the facility requirements around a channel helped set up TV3 in the early 90s and co-
plan and business model, he says. “Instead we owned post production facilities including
kind of went down there and said this space Image Post (now Images and Sound).
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DOP Equipment RentalsNZTECHO Spring 2011 | 13
The tsunami in Japan impacted on world- “It was rather like
wide equipment supplies but Jef drew on his
industry contacts to get the goods needed being a short-order
including camera, audio, lighting and editing
cook of television
equipment. Jef is also a collector of old tele-
vision and broadcasting gear which certainly designers - we could
came in handy. Some was hauled out, dusted
off and reassembled ready for shipment to do the thing that
Christchurch to use in the interim. “I’m not takes four hours to
an engineer but a collector of stuff and some
of the stuff still has its usefulness.” Timing make and is exquisite
the arrival of goods was not always easy nor
was reconciling the expectations of staff from
at the end, but right
what they were used to, to what they would now you’re getting a
get in the interim. He learnt to “nod and say
yes a lot” but says being as honest as possible poached egg, bacon
was most important. “It was rather like being pen next, there were a lot of very brave people and fries.”
a short-order cook of television designers - down there. A lot of them didn’t know how
we could do the thing that takes four hours affected they were until recently.” Jef says CTV
to make and is exquisite at the end, but right is a work in progress and will not be complete
now you’re getting a poached egg, bacon until it has the ability to playout (broadcast
and fries.” a programme to a network for delivery to an
Once staff understood the restraints and saw audience). Live news is on the cards with de-
what they had to work with, he says, they had velopments also planned around scheduling,
something to focus on. “It’s fair to say they are media management and archiving. He says
all heavily traumatised after the earthquake CTV has much potential for the future but
and after losing most of their colleagues. With will need financial backing. “I think CTV has
the emotional trauma of that and the frustra- an opportunity to become a national brand if
tion of not knowing what was going to hap- the shareholders want to take that step.” n
continued from page 5
It takes a bit of time to take the This is the sort of book
sting off the truth, and besides you might read in one
some of us still have careers to sitting. It’s a great his-
look after? tory and nicely handled
It’s least revealing of the last – even a retired NZFC
30 years, but then again that’s still bureaucrat gets a wee
raw and immediate. You get that turn – it’s about us folk,
with history. how the film business
works in a small country
The movie business will shift once
and where we fit in
again (as it seems to do every five
the greater world of cinema. We reclaim recent talent, Jane Campion,
years). Editor Diane Pivac does a
Geoff Murphy, Taika Waititi and Len Lye gracing the cover, and this book
great job of setting out the way we
does it with enormous pride. In a sense it places them back home on the
do things in this country: a pattern
paepae… A profound history and a sense of the journey, beginnings and
of independence, then govern-
endings, the pioneers, the delusional and the successes. This book will sit
ment involvement, then crash, and
well in the tertiary sector.
restructure… the pattern repeats
up to this day (yet no mention of the recent NZFC ‘review’…) There’s the For those soldiers lost in action you are actually here, if not by name you’re
assumption that the arrival of Hollywood is a necessity in a country’s movie there between the pages and lines. You’re in the white bits that haven’t
making development. The wealth of it all secured against a low wage been written yet. You’re behind the pictures, holding the reflector or pan-
society… Is this what we actually wanted? ning the lamp… That’s you – you made it all happen. Personally I think
Don’t Let It Get You was the moment that kicked it all off again but then
Ours is an industry where bureaucrats secure careers in arts manage-
again Sleeping Dogs is what we all remember.
ment with salaries and overseas travel perks, and yet talent still comes
from the trenches, where filmmakers camp in their sleeping bags on the I guess my version of film history has little more unease?
floor while ‘arts managers’ lounge in US$400-a-night hotel rooms at The index? Not in the ‘A’s either… oh well, life’s like that, eh? n
Cannes and AFM…14 | NZTECHO Spring 2011 RETROSPECTIVE
NZTECHO Spring 2011 | 15
50 issues and counting...
NZTECHO has made it to 50 Issues. Second editor
Tony Forster considers this remarkable fact and
shares some recollections.
At moments like these, the beginning always seems eons ago… and as
if it were yesterday!
Camera assistant Tim Pope suggested we could lift the Guild’s profile
by regularly publishing a more substantial newsletter than we ever had
previously – a magazine in fact. Without Tim, the mag might never have
happened. Little did I realize this would be a starting point for a journey
of my own. Initially I was asked to supervise – ‘exec produce’ if you like
– Tim’s efforts; then I was asked to take over the editorship.
Taking over, I found there were many elements of Tim’s style I was keen
to develop: a relaxedness, an informal, community-of-friends feeling,
serious issues leavened with some lightness, some touches of humour.
Over the eight years I was involved with the mag, I was pleased with
the way we gradually improved the various elements. The challenge
was always finding the appropriate balance (for the time) between
improving the ‘professional look’ on the one hand, while on the other,
maintaining the sense of personal connection with the readers – to
sustain the members’ desire to read with a feeling of belonging to an
organisation that cares about its membership as its first priority. For
everyone involved, NZTECHO was a part-time role, to be fitted in and
around the demands of other priorities. As a result, I never felt abso-
lutely satisfied with any given issue…
When I look back, the feedback we received was almost invariably
Professional
Lighting
positive – something for which I’m still most grateful. I’d like to reiterate
here my appreciation of the support and encouragement we were
Services Ltd
always given – by readers, by the three EO’s, and particularly by some
committee members. I guess the most satisfying element for me would
have to be the mag’s being credited with playing a significant role in
the trebling the guild’s membership. In this, Tim’s original dream for the
magazine was surely achieved.
To the next 50 issues – Cheers! Kinoflo
Tony Forster
Dedolight
Matthews
Lowel
Chris James Lighting Filters
Yellow Jackets
Kenro
Power Gems
Dirty Rigger Gloves
Phone: 09 302 4100 Fax: 09 302 410216 | NZTECHO Spring 2011
In focus
Vanishing spectrum
Haresh Bhana and Stephen Buckland on behalf of WUNZ (Wireless Users New Zealand) explain
‘Where are Radio Frequencies Going?’ and why it matters. Here are some highlights.
Digital TV is set to radically alter the landscape for smaller users of the channels. Even within the
radio spectrum. As NZ switches to fully digital TV the band used for radio smaller (8 MHz) bands
microphones is being reassigned. Commonly used frequencies for radio taken up by single TV
mics must change and – before you wonder ‘do I care?’ – think how widely channels there’s white
wireless mics are used… From schools to lecture theatres, boardrooms space for radio mics. Analogue TV – UHF Spectrum
and gymnasiums through screen and stage to broadcasters, the changes Digital TV provides quite
will be profound. a different picture (see
Where are radio frequencies going and what exactly is happening? second figure): A digital
The radio spectrum isn’t really vanishing, it is being reassigned. The fre- channel occupies the
quencies themselves aren’t going anywhere, but bands of spectrum will be entire chunk of bandwidth: Digital TV – UHF Spectrum (Future)
made unavailable to general users or used with different technology (digital leaving no white space at
television, and in the future ‘long-term evolution devices’). all. If your radio mic operates in that band of spectrum you have nowhere
to go.
How has use of the radio spectrum worked till now?
Goodbye 700 MHz
All smaller users operate under a General User Licence (GUL): A default
state, not actual licence, for those outside the big fee paying users (radio, By March 2015 all users – including wireless mics – must clear the
television and telecommunications). Operating under a GUL has always 700 MHz band of spectrum: all analogue transmissions will be switched
meant accepting limits on transmitter output and bands of spectrum avail- off, digital TV moved to lower bands, and the free space created – the
able. It also means an expectation that you will not interfere with use by ‘digital dividend’– put up for auction by the government. WUNZ unsuc-
fee-paying broadcasters. cessfully fought to retain the spectrum for general use. Unfortunately the
‘digital dividend’ is seen as a valuable commodity (something that remains
Why WUNZ?
to be seen, see below), so radio mics operating through 700 MHz will be
Until WUNZ, users of the estimated 100,000 radio mics in New Zealand redundant by early 2015.
had no input into the Government planning. WUNZ has sought to inform
Managing the spectrum
the ministry and ultimately to alter the declared government position that:
radio mic “users operate on the fringes of the spectrum… don’t pay for a In the USA the 700 MHz band has been closed off since June 2010,
licence, [and] therefore their rights are minimal”. WUNZ’s campaign has though to date it remains unused. So, is the ‘digital dividend’ really a valu-
won recognition, but uncertainty remains as scheduled changes meet with able commodity, or has this been misjudged? And, why can’t the band
technical delays, and updates arrive on an adhoc basis. remain available until it’s actually required for other uses?
How does digital TV affect radio mics? Other situations require thoughtful management, for example where
many radio mics are used simultaneously – how can conflicting use be
Traditional TV broadcasting leaves gaps – ‘white space’ – where typically
managed? Currently there is no means of resolving conflict, as general us-
radio mics operate. The ‘white space’ is clear (see accompanying figure
ers share equal rights. WUNZ looks to support models like that applied to
Analogue TV – UHF Spectrum) between the peaks and troughs of TV
the Rugby World Cup, involving active management of spectrum use.
Looking into the crystal ball: predicting future allocation of spectrum.
Radio Regulatory Bodies: Demystifying the bureaucracy WUNZ has projected what future spectrum demand might be. The upshot
Ministry of Economic Development (MED) is responsible to Govern- is – because digital channels use twice the spectrum in certain locations
ment regarding New Zealand’s radio spectrum via Radio Spectrum – digital looks set to occupy a lion’s share of spectrum: Maori TV and Sky
Management (RSM). could occupy 96 MHz for six channels, leaving slim pickings, and major
challenges for general users.
WUNZ: Wireless Users NZ Short-term silver lining and the unknown future
WUNZ formed in response to concerns about the impact of digital TV Until 2013 demand for spectrum will remain unclear. As 700 MHz vacates,
on the available radio spectrum for wireless users (radio mics and other availability will actually improve for a while (an Indian summer before post-
UHF wireless devices such as follow spot. WUNZ aims to represent digital-TV-winter sets in). In the meantime, all users need to keep informed
‘general users’ (see main article), to ensure future viability for wireless and manage their use carefully.
devices on behalf of individual users in the Screen Production Industry
and beyond. See the full article at www.nztecho.com. To keep informed and for more
WUNZ has achieved a significant hearing for small users, presenting information visit www.wunz.co.nz regularly.
specific concerns to Radio Spectrum Management (MED), successful-
ly highlighting the profound and wide-ranging impacts of mismanaging Thanks to Haresh Bhana and Stephen Buckland of WUNZ upon whose
spectrum allocation to the exclusion of ‘general-licence’ users. presentation this article is based, and Grant Cummuskey of NZ Video News
who provided a transcription of the presentation.You can also read
