Guide to NZCS Awards Categories

All fees are shown in NZD inc 15% GST

General notes

Please re-read the category definitions each year before submitting your entry, because categories are refined and amended in the light of experience and the types of productions being made.
Joint entries will not be accepted. If a project has more than one cinematographer then only the cinematographer who has overall responsibility for the visual content and lighting of the entry i.e. the Director of Photography or Principal Cinematographer may enter (except for specialised and second unit category).
In every case the cinematography of others and details of their involvement must be provided in the entry notes, highlighting their work by description or giving approximate time codes. For example: ‘Jane Doe shot the aerial sequences,’ or ‘fight sequence at 5:30 minutes was shot by second unit DP John Doe,’ or ‘I was assisted by a second unit DP Jane Doe who shot establishing shots, multi-camera sequences etc.’
The judges will take into account the relevant information you give them in the notes to the media submission, so entrants are strongly advised to include them.
Student films should be entered into the relevant categories and the entry notes should indicate it is a student film, the name of the film school, and whether it was totally student led, or supervised by a tutor.
NZCS may reallocate any entry it believes has been entered in an inappropriate category.

Where have student films gone?
Students should enter student films in the category appropriate to the film and in the notes to judges explain that it was a student film and other relevant details.
Cutting edge award	$75
The cutting edge award is a discretionary award made in some years by the judges to a cinematographer for breaking new ground in technical, creative, or craft in New Zealand. An entrant can enter themselves, however judges may also award it from among other entries. There is a wide latitude in the kind of production or cinematography eligible for this award. It include any cinematography not falling into the other categories. Please give detailed notes to judges.
Category 1: Music videos	$75
Musical or concert items shot for the purpose of entertainment or promotion. Entrants should be responsible for lighting, particularly in the case of stage lighting.
Category 2: Short films	$75
Short dramatised productions.
Category 3: News and current affairs	$75
News or current affairs stories or segments broadcast on regular television news or current affairs programs. Enter a single story, segment, or episode.
Category 4: Magazine, lifestyle and reality	$75
Light entertainment human-interest productions or segments. For example: travel, leisure, gardening, property, cooking, entertainment, science, sports, arts and reality shows. Enter a single story, segment, or episode.
Category 5: Educational and Informational	$75
Productions specifically shot for a corporate or educational market designed to teach or inform. Includes longer online infomercials.
Category 6: Specialised and second unit	$75
Second unit sequences or specialised cinematography sequences or productions. This category includes examples such as microphotography, macro photography, ultrahigh speed, underwater, aerial, stunt sequences, chase sequences, fight scenes, or other 2U drama scenes. A list of scattered shots or time codes is impractical for judging so an entry in this category must include one or more sequences that can easily be described in plain English and recognised by the judges. The sequences will be found using an approximate start time and a description such as at “fight sequence at 10 minutes where hero leaps from building and fights monster” Main unit shots cut into the sequence should be described. For example: “CU’s of hero were MU shots” Test footage or show reels are not eligible, as entries are based on a particular production.
Category 7: Documentaries	$75
Traditional documentary productions normally dealing with people in relation to their environment. Includes any full-length television, feature or web documentary. In television documentary shows, enter only one episode, per entrant. Current affairs segments that constitute the entire program should be entered in this category.
Category 8: Commercials	$95
Commercials for national or international release. Entries must have been specifically shot for this purpose and not repurposed from other material. Includes all distribution channels including online. Includes promos, TV station IDs. CGI or computer manipulation must be clearly identified in media submission. Commercials are generally distinguished from corporate and educational entries by shorter length (under 90 seconds), TV commercial style, and high productions values.
Category 9: Web series	$75
An episode from a drama series (more than three episodes) made for free online distribution. Enter a single episode per season where you were the DP. Acknowledge in the notes the DP who set up the series look.
What happened to dramatised documentaries and telefeatures?
Telefeatures and dramatised documentaries have been combined into Television Drama to better reflect the number of productions in those categories.
Category 10: Television dramas	$110
A standalone drama or one episode from a mini-series (a single story spanning less than three episodes), or dramatised documentary made for TV broadcast or subscription service.
Category 11: Teleseries	$110
An episode from a drama series (more than three episodes) made for TV broadcast or subscription service. Enter a single episode per season where you were the DP. Acknowledge in the notes the DP who set up the series look.
Category 12: Features	$135
Feature productions first released through national or international theatrical channels.

What about colourists and operators?

We are asked from time to time about widening the awards to include colourists, operators, and animation and so on. These roles are all worthy of recognition, and no cinematographer would underestimate their contribution.

The Turtz Award is a very prestigious award that acknowledges contributions by non-cinematographers.

However apart from that, we simply can’t fit any more awards into a manageable event, so we have to focus on the directors of photography – the people responsible for the look.