New Zealand Cinematographers Society

IRD update per diems to $80

03 Dec 2018 2:05 PM | Amber Wakefield (Administrator)

On 1 July 2018 Inland Revenue has updated an expenditure determination regarding people working in the screen production industry. If you are required to work away from home, the determination will apply to you.

The determination allows that from 1 July 2018, we are able to receive up to NZ$80 per day in per diem allowances.

Per diems are paid exclusive of GST, so when you prepare your GST invoice, you will need to calculate GST on the per diems received. So if a per diem is paid is $80 and the GST is $12 this will be included on their invoice as $80 + GST of $12 = total of $92. On the PAYE schedule the per diem is included but this is only at the $80. If a contractor is not GST registered, it is just the $80.

Read the full guidelines here

The Data Book celebrates 30 years of connecting screen industry professionals

03 Dec 2018 1:18 PM | Amber Wakefield (Administrator)

The 2018/19 Data Book print edition is out now and to celebrate their 30th birthday they are distributing the latest copy free to the first 200 industry guild members that contact them and 30 exclusively for NZCS members.

This years Data Book is crammed full with the latest information about New Zealand’s screen production industry professionals.

The book also includes Studio and Crane Charts and other useful information for people looking at shooting films, television, web series or commercials in New Zealand.

The print edition – like the online version – includes over 300 categories.

“It is hard to believe this is Data Book’s 30th birthday. This year the book has gone from strength to strength,” says Data Book publisher Kelly Lucas. "We have increased the number of pages and listings which is a great sign of the strength of the industry and people engaging with the book and online. Website traffic has grown as well attracting continuing to attract a large number of New Zealand traffic and visitors from around the world. The feedback from last years book has been fantastic with people still wanting a print edition so we have published it again this year while the audience is still there, we also want to give back to the industry for supporting us so we have decided that the first 200 Industry guild members to contact us can receive a free print copy.”

The print edition of The Data Book costs $46 (inc gst) but if you are an industry guild member you can receive your copy for free (limited offer) please email Kelly Lucas with your name and preferred postal address on subs@databook.co.nz or phone 021 996 529 or check out the website http://www.databook.co.nz for the online version and get your free listing.

Avatar Camera Trainee Internship

03 Dec 2018 12:49 PM | Amber Wakefield (Administrator)

Camera Trainee Duration: 1 April – 30 August 2019 (4 weeks of prep + entire shooting period ). Reports to A Camera 1st AC. An entry level position aimed at giving a very junior camera assistant the exposure of working on a large scale production. They will assist the 1st and 2nd AC’s onset. The aim would be for them to step up to a 2nd AC role on a large feature film. Candidate needs to be either a film school graduate with an interest in being in the camera department or someone who has just started working within the film industry, in the camera department.

General Notes:

The successful applicant will need to be Wellington based for the duration of the internships
Must be an NZ citizen or permanent resident
The internships are paid positions
Applications close: January 31st, 2019

Application Process

Please send an email to nzinfo@avtr.com
Make sure the subject is: 'Internship Application - Camera.'
Write a covering email which explains the position you are applying for and why you think you would be the ideal candidate for that department
Send a copy of your CV as well

They will then select a pool of candidates from the applicants to meet and interview and then choose the intern from there.

Blue Light Hazard

12 Nov 2018 10:48 AM | Amber Wakefield (Administrator)

Of all the tools a cinematographer employs, the most important we have are our eyes. Recently there have been an increase in news articles outlining the damage that increased exposure to blue light waves does to our eyes.

Whilst we cannot completely avoid screen exposure to blue light spectrum, we can be mindful of the potential long term hazard. Many screens on computers and phones offer a warmer version of the screen, which can be taken advantage of when we are not colour balancing our work. In addition blue blocker lenses are now available for spectacles, which I wear whenever I am not required to assess colour accuracy. Don’t forget that sunglasses can also be excellent weapons in the fight against excess UV light exposure when working outside.

The links below offer more information on the issue, as well as providing some interesting background on how our eyes actually work.

- Simon Raby NZCS, President

https://www.forbes.com/sites/fionamcmillan/2018/08/11/how-blue-light-damages-cells-in-your-eyes/#6f73ef4a384b

https://www.aoa.org/Documents/CRG/Blue%20Light%20and%20Eye%20Damage.pdf

https://amp.theguardian.com/society/2018/aug/09/blue-light-from-phone-screens-accelerates-blindness-study-finds?__twitter_impression=true

Motion in Film - Professional Workshop hosted by DJI Ferntech and Showtools

08 Nov 2018 1:45 PM | Amber Wakefield (Administrator)

This workshop on a Saturday in mid-September was not to be missed by anyone with interest in top-end drone technology, and camera gimbal stabilisation systems. Held at Studio 230 in Ponsonby Rd, there was a most impressive array of equipment on hand for display, demonstration, and hands-on participation.

Notably featured were new products such as: DJI Inspire 2 drone, DJI Ronin 2 gimbal rig, Zenmuse X7 camera with Super35 sensor, DJI Masterwheels – a high precision electronic replica of the geared head system which are fully wireless remote control or cable, very heavy-lift drone systems for cameras like the Arri Alexa, very tiny drones at the other end of the scale, and displays by PLS, Imagezone and Mandy VFX.

Centre-piece of the workshop was a panel discussion featuring local experts and NZCS members Murray Milne NZCS, Rob Marsh, Jess Charlton, and Sam Peacocke. As well as local DJI rep Jonathon Kubiak and Jiajia (River) Chen from DJI Global. Jae Morrison led a wide-ranging discussion. Encompassing tips and tricks from seasoned professionals, new cunning ways to mount and utilise systems like the Ronin 2, requests for new features or improvements to DJI gear (dutifully noted by River, to take back to the R&D team in China!) and thoughts on how this new wave of technology has revolutionised the way we move cameras.

Conversation with Cinematographer, Denson Baker, ACS, NZCS

08 Nov 2018 1:28 PM | Amber Wakefield (Administrator)

Mid-August saw an enthusiastic turn-out of regulars and newcomers to listen to Denson Baker NZCS ACS, show clips and talk about his work on three main projects: the yet to be released feature film 'Ophelia' shot in the Czech Republic, a season finale episode of the English TV drama 'Victoria', and the award-winning NZ feature film 'The Dark Horse'.

The evening hosted at Department of Post’s new facility in Newton Rd was kindly facilitated by Denson’s old film school buddy, Mark Lapwood ACS, and Murray Milne NZCS.

Denson showed a great cross-section of his cinematography work, which was accompanied by some exciting previews and behind-the-scenes stills shots, showing very detailed technical set-ups. An informal atmosphere for relaxed discussion about his different creative approaches to the various projects and questions flowed from the audience.

Of particular interest were some of Denson’s challenges. Such as shooting in real historical castles in the Czech Republic for Ophelia. Being a guest appearance as DP on Victoria, with an English crew who had settled into an established approach to lighting often-visited sets, which Denson didn’t necessarily feel the mandate to duplicate! Also, his varied visual approach to shooting the different mind states of Cliff Curtis in his lead role in The Dark Horse.

The NZCS thanks accredited member Denson, for taking time out of his schedule to share, connect and discuss with members and friends.

NZCS Awards 2018 - Photographs

26 Oct 2018 8:43 AM | Amber Wakefield (Administrator)

Congratulations to all the nominees for this years NZCS Awards. It was a fantastic showcase of incredible work making us proud of the world-class industry we have all helped to create in little old New Zealand. Please see attached link to see the photographs from the night taken by White Door Event Photography.

Auckland City Lights - Rosco Photo Competition

31 Jul 2018 6:48 PM | Amber Wakefield (Administrator)

This is a chance to see your images on a grand scale as a backdrop to New Zealand’s best Cinematographers. At the 2018 NZCS Cinematography Awards we will continue with the tradition of the Rosco Day/Night Backdrop. This year we are holding a competition for the best series of Day/Night photos.

It will be judged by Phil Greenstreet (Advanced Backdrop Technologies) , Lizz Vernon (Sydney Photographer) from Rosco and Guy Quartermain and Mark Lappwood from the NZCS.

The competition requires two photographs from the same locked off position, one taken during the day and one at night so that image can fade from day to night. The subject is 'Auckland City Lights'.

In addition to the aesthetics of a good photograph, there should also be emphasis on what makes a good backdrop - it needs to look good (and realistic) through a window, doorway, or other aperture, or behind an actor, without stealing the scene. The photos must be a minimum of 30 megapixel resolution.

The winner will receive two free tickets to the Awards and sit at the Rosco table.

NZCS and Rosco reserves the right to use the photos as they see fit and the judge’s decision is final.

The competition closes on the 10^th September 2018.

Email your entries here

Competition for NZCS members only.

NZCS call for President and Vice President roles

23 Jul 2018 9:12 AM | Amber Wakefield (Administrator)

Richard Bluck and Paul Richards have announced they will not stand for the President and Vice President roles for the NZCS at the AGM on the 21 August. This is a great opportunity for Senior NZ Cinematographers to take on the helm of the NZCS, and drive the advancement of the art and craft of Cinematography in New Zealand.

The role of the President is to:

Represent the society at engagements
Fact as media spokesperson
Report to the membership at each AGM
Ensure that the Rules are followed
Convence Meetings and set the agenda
Chair meeting, deciding who may speak and when
Oversee the operation of the Society

The role of the Vice President is to:

Stand in for the President, by arrangement or when the president is unavailable.

Like all members of the committee they are voluntary positions, but with tangible rewards in the form of leaving legacy for future Cinematographers. This is an exciting time for visual media, with many issues including the economics of our industry and gender equality in play. If you think the time has come to give back to your professional community, please contact us for more information.

We also welcome all interest in joining the Committee - again this is a rewarding experience, offering a unique insight to both the broader Cinematographer world through our relationships with Imago, the ACS and the other overseas guilds, as well as insight to other NZ guilds.

Committee members duties include:

Develop strategy
Appoint sub-committees
Authorise operational budget and expenditure
Approve annual plan and budget
Approve project plans and budget
Publicly support NZCS awards, projects and events

The Committee has overall decision making responsibility for the NZCS – so if you join your vote will make a difference to the future focus of the society!

For more information about the President or other roles, please get in touch.

Kind regards,

Amber Wakefield
Executive Officer

Leica-Park Opening 2018 - A report by Marc Swadel

22 Jul 2018 9:42 AM | Amber Wakefield (Administrator)

Marc Swadle is a cinematographer member of both he NZCS and the ACS. He is also one of our valued NZCS committee members.

On the 14th of June, I jumped on a plane from London to Frankfurt with an invite from cine lens manufacturer CW Sonderoptic, for the launch of The Leitz-Park, in Wetzlar, Germany.

To celebrate the event, 1,200 guests, photographers, cinematographers and journalists were invited from all over the world to witness the inauguration and experience the completed park, and to take part in a weekend programme of talks, seminars, exhibitions, tours, concerts and hands on areas where you could try your hand at food, automotive, sport, wildlife, portrait, macro, and cinematic, photography.

So what is the Leitz-Park?

The Leitz-Park is (mind the pun) the focal point of Leitz/Leica: a complex that contains The Leica Museum and shop, company archives, photo studios, the factories for CW Sonderoptic/Leitz Cine Wetzlar, Via Optic, Uwe Weller, the Leica Camera AG headquarters, luxury hotel, restaurant and café.

CW Sonderoptic – becomes – Leitz Cine Wetzlar!

The change makes a bit more sense when you realise that ‘CW’ stands for ‘Cine Wetzlar’, and the business has moved into a brand new high tech facility.

After the logo unveiling, I had a talk to Seth Emmons, Director of Communications, and Gerhard Baier, Managing Director, about the move and name change.

Seth: ‘The building started 18 months ago when we broke ground, and here we are. The CW factory was based in Via Optic over the road, where we were for the last ten years – we just outgrew it. We did the move in a week, first production, then the office staff, and here we are!

Gerhard: ‘Our rebranding to Leitz marks a natural evolution - until the late 80’s all Leica lenses carried the name ‘Ernst Leitz Wetzlar‘. Our new name carries the weight and responsibility of this heritage.’

A recap on the company:

CW Sonderoptic GmbH was founded in 2008 to design, manufacture and market Leica-branded cine lenses for film, television and commercial production.
The game-plan was to design and develop what became the Leica Summilux-C cine lenses, for them to be the most advanced cinema lenses yet created in regards to size, performance, mechanical precision, and optical characteristics. The first sets delivered in early 2012, and the following year they, began working on a new product line, the Leica Summicron-C cine lenses – which offer a smaller, lighter, and a top slower lens.

In 2015, underlining this development, and pursuit of quality, Iain Neil and André de Winter (optical and mechanical design, respectively) received technical Oscars for the Leica Summilux-C lenses from the Academy of Motion Picture Arts and Sciences.

Leitz as a whole has a pretty cool history. A specialty microscope manufacturer since the mid-1800s, in 1914, in Wetzlar, the company invented the 35mm photography film which is the standard for stills photography, and the original compact photography camera. Some of the most iconic images in the world have been shot on Leica cameras – that of Che Guevara, the famous kiss of the sailor and nurse at the end of World War 2, and the harrowing Vietnam picture of the child napalm victim to name a few.

90% of what Leitz Camera (renamed from Leitz in the mid-1980s) makes is exported, and 1200 people work in the Leitz-Park optic industry cluster - which has a 2.8 billion euro turnover in the Wetzlar region – making not only cameras and lenses, but automotive sensors, and aeronautic, military and industrial products.

The Launch Event

To kick it all off, a Launch event was held in a giant purpose built marquee, on site, with many speakers from the company, government and local government.

Wolfgang Kisselbach, managing director of Leitz-Park:
‘In order to make the possible emerge the impossible must be dreamed’

Andreas Kaufmann Chairman of Leitz:
'About the buildings style – quoting Goethe – Architecture is frozen music’.

After the formalities we headed for the Leitz Cine Wetzlar hospitality area, which had all manner of goodies to sample (of the food/drink and camera/lens variety), where I found my old mates Louis-Phillipe Capelle SBC, Richard Andry AFC and Alfredo Altamirano AMC.

We all then went off on a tour of the lens manufacturing facilities – a rare chance for us camera types to experience.

First up, Seth Emmon took us on a tour of the Sumilux plant.

As we saw, all production elements happen in one room, that is totally sealed - it is a faster process to make lenses, and cleaner. The clean rooms have positive pressure.. so if a door is opened the air blows outwards.

The question was asked – ‘How many lenses do you make a year?’

Seth relates: ‘In the last year we’ve manufactured over 300 Thalia Lenses and more each of the Summilux-C and Summicron-C lenses. In the new factory our production output is near 20% improved and we’re still refining and improving it. To date we’ve produced nearly 3000 Summilux-C lenses and over 3000 Summicron-C lenses’.

The lenses optics themselves are from Leica Camera, and Leica Portugal (where the M series of stills lenses are made). The Summilux-C lenses are individually focus tested on a 16 metre long bench – and the focus markings are dead accurate, and bespoke marked for each lens.

We then crossed the road to Uwe Weller Feinwerktechnik - where the lens housings are made, and where taken on a tour by Michael Weller, Chief of Operations.

Each lens is amazingly complex – there are 30 parts (none plastic!) in a 135mm Summilux (excluding glass) 80% of which is aluminium in various alloys – the outer alloy is optimised for anodising, other alloys come from the Aviation and Military worlds, and is stress tested and x-rayed before delivery.

The factory is ultra-clean – the air is filtered, and every scrap of waste metal is carefully collected and recycled. I counted more than 40 CNC machines – each working to multiple passes, milling specific parts. Each machine can cost as much as 700K Euro, and will last at least 20 years on the job.
Finally, we came to the engraving department – where they still do the classic deep milled engraving after the lens housing is anodised, then the markings are filled with paint, then the excess rubbed off with alcohol.

After the tour, I have a much deeper appreciation for the lenses – the sheer quality that arises from taking the path to be the best.

The weekend was a great one – I got to try other photographic disciplines, enjoyed the gallery and museum, had some great food, met Ed Lachman ASC, Guillermo Navarro ASC AMC and ASC President, Kees van Oostrum ASC, and photographer Bruce Davidson.

A huge thanks for Seth and his team for making the weekend what is was – a model of German efficiency and hospitality.

If any of you are in the Frankfurt area

I definitely suggest taking the 40- minute trip to the Leitz-Park and immersing yourself in all things Leica at the Leica Experience Centre.

Drop them a line on the link below to on in mailto:leicatour@leica-camera.com

- Marc Swadel

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