On set with Savage Farewell Keri Kaa and Bill Black And, the Film Commission write in - SPRING 2020 | ISSUE 86
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SPRING 2020 | ISSUE 86
The Screen Industry Guild Aotearoa New Zealand quarterly
On set with Savage
Farewell Keri Kaa and Bill Black
And, the Film Commission write in
www.screenguild.co.nz
PRACTISING
Safe Sets EDITORIAL CONTENTS
With CLEAR PROTECT GUILD NEWS & VIEWS
Hi all, 2 Behind the scenes
Kelly Lucas.
And welcome to another packed issue of your 4 President’s rave
favourite quarterly magazine. Brendon Durey.
It’s been a lot of fun getting this one together, INDUSTRY
especially reading the regional wraps as they come 6 Savage
in, and realising that the entire Aotearoa industry is James L Brown acs.
humming right now. 24 Regional wrap
With our beautiful country still one of the very few TECHOSPHERE
that can safely host and major location or studio 14 September – October 2020 Snapshot
based shoot, and with the situation in North America 16 In Memorium: Farewell William Arthur (Bill) Black mbe.
and Europe looking dire for many more months to 20 In Memorium: Farewell Keri Ngapera Kaa – cnzm, qso.
come, I guess we can continue to look forward to an 27 Newbie: Meet Alana Henderson.
influx of major international shoots relocating here.
And as long as we can bring the crews and
their equipment in safely and without
disadvantaging more essential industries, then
we should celebrate that.
The Safe Sets protocol is a
CLEAR PROTECT program The downside however, is that smaller local jobs
for managing COVID-19 risk in might find themselves having to join the queue for
production facilities and includes crew or studio space. But we can also take this as
a combination of services, an opportunity to train more locals, to require the Cover photo: Danny (Jake Ryan)
product supply and training. international jobs to commit to taking on interns in a scene from the film ‘Savage’ -
DOP James L Brown acs
and passing on meaningful training to them.
Getting the balance between income and allocation
of resources right will always be as much an art as a
The CLEAR PROTECT Safe Sets Program: science, and there will always be disagreement over
ISSUE 86 SPRING 2020
Editor Advertising
Graeme Tuckett Advertising queries, please contact
what ‘best practice’ looks like. But at least we can Publisher/advertising Kelly Lucas on 09 8899522 (always dial 09),
Using products that have been tested 99.99% effective against COVID-19, the program maybe all agree that the problems created by too Kelly Lucas info@screenguild.co.nz. For a copy of our ad
Design specs and rate card, please visit our website.
provides complete protection for production crews and facilities, covering film sets and much work are preferable to the problems of not Jason Bowden / Anim8a Ltd. All contents are copyright Screen Industry Guild
stages, trailers, porta cabins and transport, wardrobe and costume, makeup, construction having enough work onshore to go around. Printing Aotearoa New Zealand Inc. 2017, unless indicated
areas, equipment, offices, catering, kitchen, laundry and bathroom facilities. TP Printing Services Ltd. otherwise. May not be reproduced, copied or
Contributors transmitted in any form without permission.
In this issue you’ll find obituaries to two brilliant Graeme Tuckett The views expressed in this publication do not
James L Brown acs necessarily reflect the views of the Screen
New Zealanders, who both, in such very different Kate Larkindale Industry Guild Aotearoa New Zealand Inc.
Monthly antimicrobial protection fogging services ways, contributed more than most to this country
delivered by Clear Facilities team of industry experts and this industry. As well as a new column from the
offices of the Film Commission. We are also happy
Supply of CLEAR PROTECT products that have been to publish a look behind the scenes of the Savage
www.screenguild.co.nz
tested 99.99% effective against COVID-19 shoot, from DOP James Brown.
Training of your staff and production crew in use of There’s a lot here, but we welcome more. If you’ve
GOLD STARS & CHOCOLATE FISH
products for self-treating high risk and sensitive areas ever wanted to see your name in print, try submitting
N Brendon Durey and Sioux MacDonald for agreeing to be the
a piece for our next issue. We are always on the President and VP again this year
lookout for new contributors.
N The rest of the exec/branch committees for putting their
Love your work, hands up to support the guild for another year.
GT.
Antimicrobial Protection for Freephone: 0800 399 378
People, Facilities and Brands www.clearprotect.co.nz
2 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 3
BEHIND THE SCENES With over 20 years in the film and TV industry,
Kelly Lucas is now executive officer for the Techos’ Guild.
We appreciate
the support of:
Executive Officer Kelly Lucas
Mick Sinclair
Heading into October, with an election around still on the executive committee but has stood
the corner, production underway but still in the down from Auckland's chairperson and with
reality of COVID on our doorsteps, 2020 has Christian Gower stepping in. Another thank- Ph +64 9 360-9995 www.sinclairblack.co.nz
definitely shaped itself for the history books. you to Mareena King, the Auckland secretary,
has moved to beautiful Nelson.
Looking at the positives: crew are busy, the
COVID health and safety plans are in place, and Over the past couple of weeks, ScreenSafe and The 8-Series
the alert levels have enabled Auckland to get WorkSafe have hosted two workshops to look Next Generation
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Lifeguard & Safety 181mm x 65mm.pdf 1 22/09/17 11:36 AM
We warmly welcome the new members on our The Professional Respect Training workshops
branch committees and to the executive. have been up and running again, and the
feedback has been excellent. As a sector, we are Lifeguard & Safety have been working with Production Companies for
I want to thank everyone who has agreed to over 20 years, on projects ranging from music videos & film school
stand again and take the time to support the looking at making a culture shift to a healthy, C
shoots, low budget television & features, up to major motion pictures.
guild for another year. We welcome back and respectful work environment. We hosted one M
We can help in the following areas;
in Christchurch last week and are back in Safety supervisors, on set medics, hazard identification & mitigation,
say thank you again to Brendon Durey, who
Y
WorkSafe NZ compliance, marine coordination, water safety, and divers
is doing a fantastic job as President. To the Auckland on November 7th and Queenstown CM
for underwater support.
on Friday, December 11th – if you would like to MY
If it’s the Health & Safety at Work Act 2015 causing you concern, we
wonderful Sioux MacDonald, who is back as
attend, email workshops@screenguild.co.nz. CY
have been working with ScreenSafe, WorkSafe NZ & several legal
Vice President. Their support and hard work companies & consultants to find the best solutions for the Screen Sector.
We are looking at other dates and will send out
CMY
behind the scenes for the guild and the industry K
Contact us if you have any questions regarding your next project.
further information when they are confirmed. Willy Heatley +64 27 451 6002
have been fantastic. Brendon has been creating
SPECIALIST FILM & TV SAFETY willy@guard.co.nz • www.guard.co.nz
sub-committees for tackle rate card reviews, We have great news about our membership has
continuous hours guidelines, and doing a crew increased by 20% over the past year. It is lovely
rep workshop, including looking at bullying to have more crew on board, so please drop me
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Payne for agreeing to take on the Treasurer role
New Zealand's COVID alert levels stabilising,
again this year and support our fantastic Jane
we will hopefully be looking at another busy
Scott, who continues to do a sterling job on
year for 2021. For now, take care; if you need
our accounts. I would also like to say a massive
any support, we are here for you.
thank you to Ken Saville, who has given hours
Ph: 09 818 1981 • Mb: 021 443 958
of support to the Wellington branch and has Ngā mihi nui, www.griphq.nz • derek@griphq.nz
stood down this year. To Nick Treacy, who is Kelly.
4 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 5
PRACTISING
PRESIDENT’S RAVE Safe Sets
With CLEAR PROTECT
Guild President Brendon Durey
Crazy Times of non-objections) processed to assist with
Covid 19 is still dominating the news and not essential worker exemption applications through
only affecting the mechanics of how we work in to numerous members (and non-members)
all the stages of production but also the ability to inquiring about the LONO process, concerned
reach offshore for additional crew to supplement that incoming offshore crew may be pushing out
the NZ screen workforce. We had just over some NZ crew from positions.
100 days of no community transmission but
I want to assure all members that the guild
inevitably our streak ended. It appears that local
take the issuing of LONO’s very seriously and
productions have been adapting and taking the
appreciate how protecting the screen jobs of NZ
restrictions imposed by the various Covid levels
crew in NZ is very important to all our members.
in their stride. It also appears that the numerous The CLEAR PROTECT Safe Sets Program:
larger offshore productions all kicking off during The Exec has formed a LONO review sub-
August and September have all incorporated committee and are embarking on a review of the
various levels of Covid precautions dictated LONO’s process before the AGM to double check Jane Brown, Global Brand Strategy Manager for Clear Facilities To find out how we can assist with
by a mixture of their offshore funders and introduces NZTecho readers to the “Safe Sets” protocol
the process we follow meets the expectations of your production or set requirements,
developed for the New Zealand film industry.
New Zealand specific measures. the Exec and the wider membership. please contact:
During the COVID-19 pandemic, Clear Facilities has been
involved in developing a Safe Sets protocol for some of New
Demand for skilled crew Guild Subcommittees’ Zealand’s largest and most high profile international productions. JANE BROWN
Due to the huge block in the ability to shoot Work on the Continuous Working Day blue book Jane explains “The Safe Sets protocol is a complete Global Brand Strategy Manager
imposed by the initial lockdown period, the recommendations has progressed well and will program for managing COVID-19 risk in production facilities CLEAR FACILITIES
and includes a combination of services, product supply
relatively sequential chorus line of productions hopefully be tabled again to the membership for and training”.
we had, has changed into a layer cake of mania, review again before the AGM. After the last review P. 021 274 1694
“Using products that have been tested 99.99% effective E. jane@clearfacilities.co.nz
all competing for equipment, studio space and several members gave valuable feedback and against COVID-19, the program provides complete protection
of course talent and crew. Questions over the assisted the subcommittee to refine the document for production crews and facilities, covering film sets and stages,
management of the border and pressure on the further. This is one of those topics which I know
trailers, porta cabins and transport, wardrobe and costume,
makeup, construction areas, equipment, offices, catering,
Government from different quarters cramping is complicated as there are those who don’t kitchen, laundry and bathroom facilities”.
the ability to allow essential offshore workers to like working continuous days no matter the The industry has never before faced the complexities
unlock projects (Producers and Cast) has caused a circumstances, but it’s our view that productions of operating in a global pandemic. Ensuring production
lot of problems. Not only for the screen industry are still going to do them and its better we have a environments are as safe as possible for the hundreds of
but also in the infrastructure and construction staff, crew and contractors involved in the production is
set of SIG recommendations of how it should be a completely new challenge.
sectors along others. We all seem to be competing
done to try mitigate some of the negative aspects. “Any delay in production can have a significant impact -
for limited quarantine space with returning
both financially and to production schedules – and the
New Zealand’s and this has created a huge We are also forging on with getting together Safe Sets protocol provides productions with a
amount of uncertainty and complications for the the Rate Card Guidelines, and have progressed preventative program for managing this risk” says Jane.
screen industry. We have all heard the stories of through to getting an initial batch of departments Each production is unique and the Safe Sets program is
productions recently leaving our shores due to an first drafts ready to go before a Producer review designed and customised for each individual production
and location, working around filming schedules and other
inability to bring in key essential crew. team for feedback. site specific requirements.
This whole situation has created an environment We welcome any queries or feedback on these and Confidentiality and discretion are paramount and services
are delivered by a friendly team of experts who understand
where skilled crew are a valuable commodity. any of the other sub committees work that has the industry. All our team members have been background
Offshore crew are expensive and difficult to been discussed during the year. checked and security cleared.
obtain, and a lot of people are looking very In addition to the Safe Sets preventative program,
critically at the training and crew development Lastly, I hope all members can make an effort to Clear Facilities offers an emergency response service
process we have in NZ and whether it are suitable encourage friends and colleagues and co-workers for responding to active or probable COVID-19 cases.
and fit for purpose. in the screen industry to join the Guild. We have a
stronger position to advocate on behalf of all crew
The Guild EO and key Exec members have been if we are more united.
under a lot of pressure recently from productions
who want large numbers of LONO’s (Letters Brendon Durey Antimicrobial Protection for Freephone: 0800 399 378
People, Facilities and Brands www.clearprotect.co.nz
6 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 7
IN FOCUS
Savage
James L Brown acs
With cinematographer than simply condemn it. When we
James L Brown ACS behind see what these characters have gone
the camera, and inspired through, we understand how and
why they ended up where they did
by the true stories of New
twenty years on.
Zealand’s gangs over thirty
years, feature film Savage Visually, the world appealed to me
follows Danny (Jake Ryan) on many levels. Bringing life and
at defining moments in his authenticity to a gritty subculture
life as he grows from a boy across multiple decades was hugely
challenging. I researched it as if
into a violent enforcer of a
it was a documentary, focusing
street gang. Left: Danny (Jake Ryan) in a scene from
on historical photographs and
the film ‘Savage’ - DOP James L Brown acs
Director Sam Kelly was in references that transported me into
the process of interviewing the lives of these real people. and taking hundreds of photos, we stage. We had people involved who
cinematographers when he saw My goal was to create the same also found a common cinematic had actually lived these stories and
some of my work. We jumped on feeling for the audience; that language. We shared our ideas and their guidance on lighting, colour,
Skype and hit it off. they were witnessing something started to settle on the best way to and staging rooted the film in the
I was immediately drawn to his authentically real. tell the story. truth of history.
passion and it was quickly obvious On an initial reading of a script,
Kelly already had a well-developed We had days long conversations
that we shared a common sensibility rather than getting caught up in
‘bible’ filled with imagery and around the best approach for each
about film and, more importantly, what i think is right or wrong or
references when I came on board. scene and then digging down into
the world. When you connect on concentrating on the logistical
Originally he was looking for every shot. Certain scenes called
the basic moral principles behind a challenges, I try to focus purely
the cinematography to be more for a long, single steadycam shot
project, that’s a great way to start on story. I want to understand the
the journey. heightened, with beautifully that takes the audience from one
world and the writer’s and director’s
intention. Then on subsequent choreographed and lyrical story point to another, and other
Savage is about gang culture in New
readings I start to allow myself room moments, whereas I thought the scenes wanted a raw and instinctive
Zealand, set over three decades.
to think about how that intention story leant itself to a slightly rawer, handheld approach that would
It explores the causes of systemic
can be realised. naturalistic approach. It was a great create room for performances and
abuse of young men and the lasting
starting point. influence how the camera reacts.
effects that has on society. When In early pre-production, I flew to
I first read the script, I loved that Wellington for a ten-day location On top of this, we were making What we landed in the end on was
it tried to explore and understand scout with Kelly, the director, and as an historical story, so that also a compromise of these approaches
New Zealand gang culture rather we drove around finding locations influenced our choices at every that gives the film its uniquely
8 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 9
Small parts of Wellington haven’t This is Danny’s story, depicting him
changed much in the last forty years from boyhood to his thirties as he
so it was the perfect place to shoot is pushed and pulled between his
period without huge resources. We biological family and his new family,
had input from current and former the savages. So the point-of-view
gang members on the spaces they of the camera became one of the
spent time in and again would refer most important aspects to bringing
back to the historical images to Danny to life.
source authentic locations.
We elected to shoot most of Danny’s
Obviously wardrobe and hair is also singles on a 35mm lens across
key here, and we relied heavily on the board for consistency, usually
the brilliance of costume designer handheld or on Steadicam so
Bob Buck, makeup designer Stefan that we could follow him and stay
Knight along with production connected. But we shifted the height
designer Chris Elliot and his team. subtly across the story to create
different sensibilities In chapter
For camera, we decided early
one, we played just above his eye line,
on to maintain a consistency to
which showed his vulnerabilities
the cinematography and grade
and as the story progressed, we
throughout the eras, with only subtle
lowered the camera under his eye
shifts in the lighting colour scheme
line and embraces the ended as a
to subconsciously telegraph the
Above: Actors James Matamua and stylised yet authentic aesthetic. into a space that doesn’t call for large and imposing character he was.
differences in time. I didn’t want to
Jack Parker in a scene from the
it. That’s when everyone needs to process and force a vintage look as Ninety-five percent of my work
film ‘Savage’ - DOP James L Brown acs Whenever I got too caught up
breathe, step back and be malleable. you find in some television shows. over the last five years has been
in filmmaking problems like
Stubbornness is my worst enemy on This would have felt contrived on an ARRI Alexa and I didn’t see
schedules, budgets, crewing or Below: Actor Jake Ryan films a scene,
a drama. and outside of the reality we were the need to journey from that. For
gear, I would return to the work of Dana Little on Steadicam while key grip
Given the nature of the story, we attempting to capture. lenses, the choice to shoot spherical Paul Murphy spots- PHOTO Chris Moss
photographers like Nan Goldin,
Tish Murtha and Bruce Davidson. also spent much time considering
Connecting with imagery and the how we would visually portray gang
emotions they inspired would culture without sensationalising
remind me about what’s really or exploiting it. Anyone with a
important. The truth of the image camera probably understands on
or getting the feeling of a scene some level the inherent power of the
right, rather than obsessing over captured image, and it’s a balancing
logistics or gear. act to create epic images that don’t
trivialise or romanticise genuine
On a practical level, I shared these
societal problems.
lighting and art references with
heads of department as its usually We were very aware of this
the most efficient way to express responsibility every day on set and
what you are thinking and for we worked hard to stay focused
everyone to get on the same page. on the story; of boys who lose
Some days you can exercise control everything and find a new family to
that gets you to the right place. Other protect them.
days you need to let go and let the My love for storytelling is rooted in
location or cast guide how the scene a need to tell stories that matter. I
should be captured. Usually when I am inherently drawn to projects that
‘light myself into a hole’ it is because merge the political and the cultural,
I am forcing a pre-conceived idea and Savage does exactly that.
10 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 11
then create a camera blocking for Richie Elworthy and Nicki Winer
every scene in Shot Designer. It’s were my A-camera first and second
a rudimentary program but when assistants camera, respectively. Both
you’re designing plots for hundreds hugely talented humans and who
of scenes, the simplicity means it’s managed the camera the department
efficient. For complex scenes, nights like a well-oiled machine.
and interiors, I designed lighting I like to work super fast and change
plots in Illustrator. my mind about shots midtake
By the end of pre-production, I had sometimes. Having a focus puller
a miniature bible for every shoot that can be malleable and roll with
day that was about four to six pages the punches is imperative and
long with notes, lighting references, Elworthy was always on point. His
camera and lighting plots and the intuition is one of those things that
shot list which my crew and all the can’t really be taught and he’s as
heads of departments would have good as they get.
access to. This was imperative with My key and dolly grip Paul Murphy
such a tight schedule and it helped was a great part of the team. He’s a
the entire crew understand what storyteller at heart so his intuition
Kelly and I had been conjuring up. about camera movement and
Then on set I would always carry placement was a great support. I’ve
Above: Lily (Italiyah Wilson) and Red was not one taken lightly. We spent We did camera tests that pushed an iPad so I could access my own always heard that New Zealand
(Poroaki McDonald) in a scene from the
a lot of time with location imagery the Alexa into a territory where thinking and remind us what type of crews are not only exceptional
film ‘Savage’ - DOP James L Brown acs
and watching films we liked and it almost fell apart. By creating a genius we had thought up at 2am in technicians but also some of the
spherical felt like it connected look-up table with Park Road Post in the production office. most generous and collaborative
our characters to the locations Wellington that would underexpose Creatively, I believe consuming all people in the world… and this crew
over anamorphic. the sensor and then push up the the research imagery up front really exemplified that.
on set monitoring as to bring out helped me understand and settle
I flew to Auckland and tested plenty Eighty-five percent of Savage was
some of the texture in the digital. on an aesthetic so I could focus on
of Panavision glass looking for a shot on locations in and around
Ultimately the false colour was story rather than spending all my
combination of grittiness, speed Wellington. We built two sets for
usually purple and I failed basic energy every day on visuals. This
and light-weight. Paul Lake really the boys home in chapter one,
cinematography-101 every day. But full-on level of planning allowed us
went out of his way to find the right but only because we couldn’t find
we wanted to bake a look into the a lot more freedom as we went. As
glass and we ultimately settled on the perfect locations that were era
rushes on set and leave less room for problems arose, we found solutions
Panavision Ultra Speeds. They’re specific. I love real locations, they
someone to take over later. faster because we knew what we were
super fast with medium contrast have restrictions that make you
I love pre-production. Sometimes. trying to achieve and if it meant problem-solve in a way that can lead
and, they’re lightweight.
Finding the language of a film getting to that place in a different to something genuinely truthful. A
Rounding out the kit was a couple with the director is one of the most way, then so be it. window in the wrong place, a low
of Super Speeds, including a 55mm interesting parts of the process ceiling, or a dodgy green oven light
I’ve only done a couple of jobs in
1.1 which we used on select portrait and then watching your dreams be in the background can restrictions
New Zealand and it was so busy over
moments. It’s one of my favourite crushed by the reality of a budget that guide your hand. All these
there with a heap of Hollywood
spherical lenses and needed to be and schedule is one of the most things create ambience and soul that
productions going on that were were
reserved for a moment when we painful. I try to pre-produce as much is impossible to replicate in a studio
fortunate to secure the incredible
wanted to isolate a character or find as I can. on a tight budget.
talent we ended up with. My
a bit of magic.
Kelly and I planned the blocking, Steadicam and B-camera operator, For the sets, production designer
Using glass from the 1970s and early lighting and moves on every Dana Little, was a real gift. I trusted Chris Elliot and the art team did
1980s also really helped bed in the location as much as possible, whilst his eye; he always had my back and an incredible job pulling off a set
period aesthetic and mitigated some also allowing room for invention he has the demeanour of a Saint that accommodated numerous long
of the modernity of the Alexa. and happy accidents. I would which helps to set a tone. Steadicam shots with practicals built
12 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 13
into the design. Full with texture and of S60 sky panels and
again that completely encapsulated RGB Lightmatt 44’s for the
the era and the story. controlled lighting.
For lighting, Kelly and I talked a For interiors, Hebron used custom
lot about playing with shadows. RGB, DMX-controlled light matts
Danny’s story is pretty dark but and they became my go-to lamps. We
we tried, where we could, to find had the colour at about 10,000k with
little moments of hope where a touch of green and usually rigged
he connected with other people. into the roof for freedom. For room
In these moments, we made the tone, we inserted Phillips hue lights
lighting richer and more saturated, into the practicals at every location
added a bit of fill and made the which gave us incredible freedom to
space feel safer. tweak the interior colour and level
Left: Danny (Jake Ryan) in a scene from
of the space. The result was a slightly ‘Savage’ - DOP James L Brown acs
I’m incredibly indebted to gaffer
muddy amber green feel to the
Adrian Hebron and the lighting
practical lights, which was perfect
department who all did an awesome world and that support allows you to of Danny and the camera is
for this story.
job on the film. There was a heap be even more gutsy in your approach. intuitively communicating the
of lighting to do on almost every I’m excited to see where lighting emotion of the scene as it evolves.
Once the edit was locked, I spent a
setup and they worked so hard with is heading in the next few years. The director just let me go for it
week grading Savage in Wellington.
limited resources and time. The Wireless, lightweight solutions have instinctively as the performance
Burlinson is a skilful colourist and
night exteriors were challenging transformed the way we work, and
has a great sensibility for the story evolved. It was one of the simplest
as we needed to shoot 360-degrees putting the camera and lighting
we were all trying to tell. There was scenes in the film and one of the
with long Steadicam shots. Thanks crew on headsets has also improved
a pretty engrained look so we didn’t most effective.
to Wellington’s wild winds, I the energy. Everything is a lot calmer
redraw or question our original
couldn’t fly overhead soft boxes and respectful to the actors and Of course knowing what I know now,
approach to the colouring. In the
so we often needed to build in you don’t have a bunch of big egos I may do things differently because
industrial practicals to cover the running around on set competing end the focus was more in matching
thats the nature of filmmaking and
scene. These were often mixed to be heard. On a film like Savage the two cameras and the crazy
cinematography. With a different
colour temperatures and dimmed at where a scene might include Wellington weather going from full
lead up we might have shot on
different levels to deliberately give untrained actors, a large number sun to rain to sun within the scenes.
16mm pushed two stops, or even
the sense of the lighting not feeling of extras, as well as actual gang To give the images some grunge, an iPhone! All you have are your
too crafted. members, the last thing you need is especially day scenes, we tested a instincts in the moment about what
more big personalities yelling across variation of Park Road Post’s own
The gang’s pad night time exteriors the story demands. We worked hard
the room. process of using the Sapphire plugin
in chapter three was our most to make the best decisions for the
difficult location. It was extreme During pre-production, we created on SGO’s Mistika suite. This is a
story and, right or wrong, I don’t
weather right on the coast and the look-up tables with our colourist, plugin that reacts to the RGB layers
think you can regret that.
action happens over an enormous Claire Burlinson, at Park Road Post. that was closer to the way a film
space. Winds coming through Then on set, we under-exposed the stock would react. In the end it’s the vision of Sam
each night would shut down most log by between one to two stops, Kelly and producer Vicky Pope.
There is a scene outside the gang’s
shoots but in Wellington it’s just in working with these pre-determined These two wonderful people fought
pad in chapter three where all the
their DNA. We had a base lighting look-up tables. We deliberately every step of the way to pull off
lights are out and we are in this big
setup of the night exteriors of a 12k destroyed the image as much as this beast. Kelly is as dedicated as
wide opens space with single source
Fresnel and some 6kPars up on a we could incamera to bring out they come and Pope was the most
12K lighting the carpark. Danny
mountain for general underexposed some texture in the digital sensor. supportive producer I have ever
pulls Red (Poroaki McDonald)
ambience and then a series of about Postproduction producer Amanda
outside as he has just been taken worked with.
fifteen specifically placed industrial Heatley and the whole team were an
advantage of. I’m very proud of the film and feel
practicals to light the set along with amazing support. When you walk
three fires with flame bars. From into Park Road Post you are in a We’re seeing Red become a man it’s such an amazing achievement
there we would float around a couple facility that is amongst the best in the under the older brother mentorship for everyone involved.
14 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 15
unsurmountable restrictions is critical. In screen industry to ensure New Zealand stories
TECHOSPHERE 2019 it is estimated the film production and
distribution sector worldwide was worth
continue to reach audiences.
The fund has been open for just over a month
US$177 billion. In New Zealand the screen
and to date, 13 complete applications have been
sector is valued at around $3 billion per
submitted, and seven have been approved. We
annum and employs over 16,000 people
are keen to see more applications underway
across more than 29,000 jobs. The economic
and have been encouraging productions to
impact of the screen sector is not limited to
register their interest in applying to the Fund.
those working directly on film sets, but also
September – October 2020 Snapshot in spill-over spend benefits for
accommodation providers, catering
Another programme within the Government’s
Screen Sector Recovery Package is the $2M that
businesses, tourism and more. has been allocated over two years to support
In August and September New Zealand toolkit has been shared with international
Throughout the period when productions
cultural capacity. This funding will support
films excelled at the New Zealand Box studios and independent producers, the screen sector to develop the necessary
were forced into hiatus, the NZFC launched
demonstrating New Zealand’s commitment to industry, technical and business capability
Office and as of the end of September new and existing programmes - such as Boost,
best practises. to meet the challenges of a post COVID-19
Savage remains in the top spot for Boost up, Mentorships and global producer
environment. Managed by the NZFC’s Talent
the second week in a row. This Town There are currently three New Zealand feature speed meetings - to support the screen sector
Development team, the funding will focus
is still in the top twenty as it enters films shooting, and several series dramas. It’s to gear up for a new wave of production in a
on three key areas to ensure the support is
now a time of high production activity in New COVID/post COVID environment. The NZFC
its eighth week in cinemas. Both across the sector – Guilds and associations,
Zealand. In addition, five major international made substantial investment into business
have achieved ticket sales well above strategic training and short film funding.
productions are underway. NZFC worked and project development programmes to
estimates. Congratulations to all the ensure a pipeline of production-ready projects
The first two strands of this funding have just
closely with MBIE to promote the value opened to applications. Industry partners
cast and crew involved with these and in having screen production considered continues to flow. Other programmes such
and screen sector organisations may apply
the other New Zealand film currently in the critical worker category for border as mentorships were enhanced by the move
for funding to either enhance and/or expand
in theatrical release. It is fantastic to exemptions. International productions have online as it allowed a far larger pool of
existing programmes or deliver new bespoke
see that New Zealand films are drawing provided jobs for thousands of crew on shoots experienced global mentors to be gathered
programmes of skills and talent development.
-with geography no longer a consideration.
audiences back into cinemas. Some mostly filming in the final quarter of this year NZFC’s existing programmes will continue to
good news in challenging times. and into the first quarter of 2021. The impact of COVID-19 is of course run as usual.
The number of enquiries from international worldwide with festivals and markets also
COVID-19 continues to impact the screen The funds for guilds and associations will
productions wishing to locate in New Zealand forced to move online. The NZFC took part
sector disrupting jobs and livelihoods. The support the vital work that New Zealand
in the inaugural Cannes Marche online and
pandemic has affected every part of the grew significantly throughout winter 2020, screen sector organisations and guilds
supported 100 New Zealand producers and
industry and this year has been tough for with location, budgeting and production undertake, enabling them to continue to
industry practitioners to attend.
everyone. While streaming services had research at peak levels. New work has been provide services to their membership and
already led to significant changes to the secured for Wellington, with a series well In addition, we are actively ensuring that New the wider industry. The sector wide skills
industry, the pandemic has accelerated this, underway before Christmas and several Zealand producers remain connected with the and industry development programmes will
forcing us to adapt new ways of working - and other productions are working through their global market through one-to-one meetings meet the current and developing needs of
to significant new risks - at speed. consideration of New Zealand as a production with sales agents, financiers and platforms. the sector that will enable talent to develop,
destination for 2021. Incentives, exchange To date, close to 300 meetings have taken upskill and flourish in a COVID-19 and post
New Zealand was among the first countries
rates, availability of infrastructure and place. All meetings were requested by the COVID-19 world.
in the world to develop protocols for creating
access to quality creative and technical market partner after their review of producer
a safe environment for the screen industry to The NZFC continues to review and deliver
expertise are still the key factors clients biographies and their project slates.
get back to work and its rapid response in this its existing programmes and work with
weigh up, with New Zealand’s highly effective
area has been internationally recognised. The In July the Government’s $13.4M Screen government to ensure new or expanded
COVID-19 management now an additional
Screen Industry Aotearoa Guild and Screen Production Recovery Fund was introduced to programmes trigger and maintain sustainable
positive consideration.
Sector COVID-19 Action Group developed allow short and feature productions impacted employment for people across the industry
the ScreenSafe’s COVID-19 standards and This ability to pivot and get back to work by COVID-19 to be completed, delivered and and to keep New Zealand films on cinema
protocols supported by NZFC funds. The despite what could have been perceived as screened, and to help rebuild New Zealand’s screens for New Zealand audiences to enjoy.
16 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 17
IN MEMORY OF
William Arthur (Bill) Black mbe
1944 - 1st July 2020
Early Queenstown morning, bloody cold; rescues in total. Amazing for a pilot that was
bolting the ‘Tyler’ side mount into the same mostly self-taught in a time when stretching
side as the pilot, as usual I would’ve been the limits of the equipment was what a
displaying an overtly fussy and nervous bloke in the New Zealand bush did and then
disposition. Bill, the pilot to be, was already there was the conservation work, the heli-
the older guy in the hangar, more-wise and ski industry and tourism. And a volunteer
more considered than any of us. In the time fireman. The record says 25,572 hours
it took to put the mount in (maybe one clocked with the collective up; for a time he
hour) he had made it clear that he was the held the world record for the most hours
captain of the ship (and that wasn’t ever airborne in a helicopter.
going to change) and he knew a thing or two “There’s a lot of noise around a chopper
about this filming business and how excited but that doesn’t mean you have to ‘slam the
they can get… and we’ll be having none of doors!’” - Bill was gruff and gentle and a
that yelling and demanding stuff on board wonderful human being.
this ship, he said gently. I really liked him
from that moment onwards. With Bill in the pilot seat you could use
words like ‘fly this shot in a dynamic
He went on to explain how a loose glove or manner’ – ‘we need to turn this thing on its
fancy scarf could blow out the open door end to get around’ – and he would do just
and take out the back rotor, he checked our that yet you were still within and on top of
work and his prep and checked again (and a stable platform and then he would want
again) before we took off – check, double to know how we could make it better… I
check and then check again. From this day think I developed a language because of Bill
onwards I’ve always gaffer taped the lens Black’s need to get the shot right and for me
hood so it would never get taken off by the to tell him what I wanted to achieve.
slipstream, zipped up my pockets; secured
those spare batteries. Meticulous with his preparation and not to
be harried by us flash film guys that wanted
Helicopters and film work have become just one more or could we leave now to get
a mainstay in the South Island. It’s the light, but most importantly the way
dangerous work. that Bill involved himself in the shot and
Bill Black contributed hugely to the contributed to making it better and then
TV commercial scene in Te Anau and even better still.
Queenstown. When we worked together On one occasion he put the aircraft into a
in the early 90’s he already was that guy steep dive and flew flat over a spur, circled
who came from a different era, 1960’s deer back and paused for a moment. See that
recovery, live animal capture - the likes we clearing he said, that’s where the first live
will never see again. Flying skills honed in deer capture was achieved – he might’ve placed the pumping mechanism into it to once’, was his laconic reply but you only get
the South Island bush and mountain peaks. mentioned a date in 1967 when Tim Wallis refuel the helicopter he reached under the one mistake and it’s all over eh? – I did like
Unforgiving, dangerous. Not a world for the was running the deer meat business. back seat and pulled out a stick, and then his super cautious approach to flying and
reckless or disordered operator. Shooters out the side door, net guns, steep from a click-clack container he pulled a anything that added to the safe levitation
recovery, narrow gorges. Bill was a pioneer small cloth which he wrapped around the was top draw in my world.
Aerial shooting is dangerous at the best of
and flying skills adapted from live deer stick, he push the stick into the drum and We did some spectacular work that day.
times, even more so in the alpine terrain
recovery were perfect for film work. then inspected it. He could see I was looking Some of the best aerial shooting I’ve ever
of the South Island. You had to look up and
respect a man who had been on so many Later that day we dropped down into on curious, I asked the obvious. Checking achieved. Flying seamlessly from valley
rescue missions in this unforgiving terrain another clearing by a small hut. 44 gallon for water in the fuel. It’ll put the wick out to valley across mountain saddles filming
and relied on more than just good luck to drums of aviation gas were stored in the and then you’re into the bush, I asked him climbers below – flying from one wind
come back in one piece, more than 500 open. He open the top of one but before he how many times he’s found water? – ‘Just the direction to the opposing in one smooth18 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 19
move, great flying from a master craftsman. the edge of the slipstream. We were mainly Another season and this time a stunning
Bill would talk the aircraft through the chasing cars across the South Island tundra spring day - I had misjudged the pickup spot
manoeuvres, everything on board was (damn it, if someone hadn’t put these white for our run - we had skied too low - and the
personal and close, even the mechanical posts down the side of the road we could get only option was to pick up from a little mini
device was given praise and reward for good lower you know?) or flying through the Alps shelf I had to dig in the wet snow; Blackie
work done. Keeping the machine level when (so cold the camera would freeze). bought his machine in and with the grace
hanging out the side door was vital to keep of a metallic ballet dancer placed the tip of
We got to the end of the shooting process
the rotors out of the top of shot on steep one skid into the completely inadequate
and landed - our day complete.
turns. Bill was the absolute master of this shelf I had dug. The Punters got the thrill
flying style. I would say the one and only. Bill and I viewed the final hero shot; I of their lives having to clamber one by one
happened to mention a small thing that into a hovering helicopter and when I had
There’s always an older guy in your life to could make it better in that ‘if only’ kind of the skis loaded I jumped in next to Blackie
tell you stuff that you need to get through way (thinking that it would be if only in an fully expecting to get an ear full but as he
the shit of the next bit. That person to say ideal world). Bill asked to see the shot again, I first encountered Bill Black while working
peeled away from the slope he was wearing
those things when they needed to be said then again. He said I see what you mean, for Harris Mountains Heliski in the 1990s
that same huge grin on his face - Blackie was
and to settle the flow of youthfully induced let’s do it again, I know a better spot he said. - there was always a little buzz when we
enjoying this, it was what he was made for.
ego and outrageous behaviour and like a I was blown away by the commitment and heard Blackie was flying up form Te Anau to
man swept away in a flooded river you grab the professionalism, so in falling light we work with us for the day, he was immensely Years later I has the pleasure to fly with Bill
at all solid ground as the water sweeps you redid the shot at a slightly different location popular within the Heliski industry and Black as a cameraman, we were shooting
towards peril, a steady hand reaches out (it might’ve been inside the national park – with good reason - clients loved to be flying aerials for the NZTB using the Tyler side
and grabs you and pulls you to safe ground who’s looking? – nothing was said)… with such an experienced and notable pilot mount - this is before the days when a
- he might say something like – ‘and don’t It was perfect. and for his part Blackie would often work helicopter shoot meant sitting at a control
slam the doors!’ – Not so much gruff but the crowd by giving them little zeroG thrills panel drinking a latte, to fit the Tyler mount
to the point. In the scheme of it all I spent Checking for water in the fuel – you only passing over humps and ridges with that big both doors come off the pilots side of the
very little time with Bill Black, a few weeks get one chance at this. The lessons were not grin on his mug. machine and the mount goes in the back
spread over a few years, which is way out of complex, nor were they delivered with any
Heli-guides loved the way he could behind the pilot.
proportion to the wisdom I still carry that overt wisdom, yet they have stuck with me
and have informed many decisions I have effortlessly deliver them to postage stamp Forward looking shots can only be achieved
he instilled in me. sized landing zones above their selected
made since. Thank you Bill, you shared a by the pilot flying sideways and the
We put our lives in their hands. It would be part of yourself that cut through the bullshit runs but it was more than that - there was a cameraman panned hard to the left, at a
fair to mention that the earlier days of aerial of the film business and put us in a place of sense that Blackie had your back if things certain point you cannot pan any further
camera work had a certain gung-ho element learning and beyond our self-importance. got a bit interesting - his rescue career was left lest the machine comes into shot, at
to the execution of some of the shots. The proof enough of that. that moment it’s all on the pilot to find a
So long Bill Black. RIP. Pilot extraordinaire.
Tyler and Magnum side mount was the Once when heli-skiing in the Branches bit more pedal to get you the angle, Blackie
Legend.
weapon of choice… the camera operator station (behind Queenstown) we were was a master of this and during every shot
sat just on the edge of the machine and on Waka Attewell caught out by the weather, a sudden snow he would be verbalising his requirements
storm had engulfed the mountains and directly to his machine as if this was the
we were stranded on the hill. More than secret sauce to getting more pedal. “Get
50 people with no real way to get to safety. ‘round ya bastard, easy now, easy now, not
Blackie lead from the front and in near like that! - get back around ya ******* ”.
white out conditions he flew his chopper up Blackie had a real eye for this kind of flying
river beds and ravines meters off the ground and was a fountain of inspiration for shot
so he could stay in visual contact with the
ideas, above Lake Wakatipu he even took us
creek bed or rocks and finally one by one
directly through the smoke trail of the TSS
he was able to locate and extract the groups
Earnslaw as he thought it would look great
to safety.
on film - and it did.
I was in the last group to be rescued - we had
A big part of me loves the way that after all
skied down to a frozen riverbed and painted
of these adventures, all of the danger, all
the snow with luminous red paint so Blackie
of the selflessness Blackie passed away of
could see the surface with enough clarity to
natural causes while in retirement, that says
land, on the way out virtually all I could see
something. Today writing this I can still see
was white, I still have no idea how he did
his contagious grin - RIP mate.
this but you had the sense it was just another
day at the office for him. Simon Baumfield20 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 21
IN MEMORY OF
Keri Ngapera Kaa – cnzm, qso Ngati Porou, Ngati Kahungunu
1942 – 2020
By Lisa Maule It seemed totally normal to me, as a young
pākehā, that contemporary Māori theatre
As I was sitting in the memorial for Keri
existed and was being created by committed,
Ngapera Kaa in the Taki Rua rehearsal room
professional makers and doers. In hindsight
at the end of August I was feeling the legacy
it wasn’t normal throughout New Zealand
of her as spokesperson and teacher. The
and it was only because of battles by Māori
tangible celebration of Keri is felt in the
through the 60s, 70s and 80s for self-
love she has from the many people she gave
governance and recognition of systemic
guidance to; she is significant in the lives
racism that led to this intensely creative and
of many.
innovative time.
In her life Keri advocated for Māori artists,
There was a cross-over of Māori artists
Māori art, Māori language, women’s rights
working in both theatre and film. In 1989
and the retention of Māori land. There are
the short film series E Tipu E Rea included
numerous organisations who asked for
Keri as one of the a driving visionaries with
her advice, and her investment in what she
a kaupapa of Māori in key creative roles
believed in makes it seem like she never
bringing together Larry Parr, Lee Tamahori,
said no. Riwia Brown, Don Selwyn, Rawiri Paratene,
The energy of Keri Kaa was palpable, Temuera Morrison, Joanna Paul, Wi Kuki voices within Pākehā institutions. She select committees and international
I remember it at Taki Rua Theatre in Kaa, Patricia Grace, Hone Tuwhare and taught at Toi Whakaari: The New Zealand advisory groups.
Wellington where I was a tech and designer Bruce Stewart. The ground-breaking work
Drama School and was a cultural advisor
in the 1990s. I saw the positive effects from this and other efforts fed into the Other awards Keri received:
as they were trying to learn what being a
Keri’s energy had on the people she was theatre scene I had been part of. • 2016 Ngā Tohu ā Tā Kingi Ihaka (Lifetime
bi-cultural organisation meant. She was a
supporting in their work to forge a way for Keri Kaa was a teacher when she started cultural advisor to the New Zealand Film of service to Māori arts), Creative New
Māori performing arts. I was at Taki Rua out. She graduated from Ardmore Teachers’ Commission (NZFC) in the 1980s, and a Zealand Te Waka Toi Awards
working with on the women’s cabaret Hens College in 1963 and went on to work as member of the NZFC Short Film Fund. • 2014 Inaugural Māori Language Award
Teeth and Not Broadcast Quality with Sally a Māori Language and Tikanga teacher
Some other insitutions she was connected for the New Zealand Post Book Awards
Rodwell and Madeline McNamara, and in primary and secondary schools. Then
with are Creative New Zealand, Te Waka for Children and Young Adults (for the
because my flatmate Maila Urale worked the Wellington College of Education / Te book Taka Ki Ro Wai that she wrote in the
there. I was lighting and set designer for Toi, the National Library, DANZ (Dance
Whanau o Ako Pai ki Te Upoko o Te Ika in Waiapu dialect illustrated by Martin Page).
some of Taki Rua’s early Te Reo Māori Aotearoa New Zealand), Taki Rua Theatre,
Karori was Keri’s workplace for almost two
productions including the futuristic Pūkeko decades, she started there in 1979. While Ministry of Culture and Heritage, Tairawhiti • 2013 Women in Film & Television (WIFT)
Tuawhā by Hinemoana Baker in 1998 and at teacher’s college Keri was involved with Museum Gisborne. In 1980 she was part New Zealand Mana Wahine Award
Hawaikinui, directed by Keri’s brother, Wi the Haeata Women’s Collective, a group of of a group who marched to parliament
• 2010 Women in Film & Television (WIFT)
Kuki Kaa in 1996. Māori women artists, the Herstory Diary to demand that Māori language become
Te Whaea Whakaata Taonga Award
project and the Waiata Koa collective. Te official (it was another seven years before
I remember Keri’s good friend Tungia Baker Keri had 11 siblings including Wi Kuki
Whanau o Ako Pai was a special place which that happened). In addition, Keri had
also – a combined force. There were deep Kaa (well-known actor), Arapera Blank (an
has exerted a strong influence on New associations with Tapu Te Ranga Marae,
discussions in the foyer interspersed with award-winning writer and poet) and the
Zealand society including film, television, Te Upoko o Te Ika Māori Radio and Te
laughter with staff, directors, supporters, Archdeacon of Auckland Dr Hone Kaa.
performing arts with many practioners Wānanga o Raukawa, and she judged in kapa
often I was passing by, sometimes I was Their father was Reverend Tipi Whenua Kaa,
passing through as teachers or students, haka and Māori speech competitions. In
leaning against the bar and sometimes I vicar of the Waiapu parish and their mother
including the beautiful soul Laughton 2010 Keri featured in the Māori Television’s
was in the circle. I also remember quietness was Hohipene Kaa (formerly Whaanga). In
Patrick who we also lost in recent weeks. He series on leaders, E Tu Kahikitea.
and thoughtfulness for the work on stage later years Keri returned to her birthplace
also guided and uplifted so so many in his She recieved two awards from the crown –
during the Te Reo Māori, and Taki Rua Rangitukia. In a Storybox project Keri was
time in theatre and in education.
main bill productions including Te Ohaki Companion of the Queen’s Service Order filmed talking about the importance of
a Nihe by Selwyn Muru, Ngā Tangata Toa The list of her associations and awards is a in 2001, and the Companion of the making one’s wishes known toward the end
by Hone Kouka, Whaea Kairau by Apiranga testament to Keri’s commitment to making New Zealand Order of Merit in 2012 and of life. Keri died aged 78 at Te Puia Hospital
Taylor and Irirangi Bay by Riwia Brown. a difference. She was staunch about Māori Keri was often called upon to speak at after a long illness.You can also read
