Feature film ‘Sons of the Sea’ recently won the Best South African Film Award at DIFF, and is currently playing at the Austin Film Festival. 

Set in a small fishing village on the outskirts of Cape Town, we follow brothers Mikhail and Gabriel who discover a dead body and two bags of abalone. They take the loot into the shadows under a sliver of a moon, but are tracked down and pursued by a corrupt government official. Eventually cornered, the brothers turn violently on each other. But they also shoulder one another, softly and seamlessly.  In both brothers we see reflections of us all, as we watch their journey to maintain their tenuous clasp on survival unfold.  

Cinematographer Sebastian Cort discusses his experience shooting ‘Sons of the Sea’. 

I had the pleasure of working on my first feature film with long time collaborator, writer/director John Gutierrez. John and I first worked together in London and he later relocated to Cape Town, where we came together again to shoot ‘Sons of the Sea’ in 2019.  We both have a strong background in documentary, and our approach here was very similar to developing a documentary film - from forming relationships and being welcomed into the community, to shooting with intuition in a documentary style which gives the film a “social realist naturalism feel”

Coming from the world of documentary, this was the perfect story for me to sink my teeth into. The film is grounded so heavily in the real world, that I wanted to capture the raw, grittiness of the story and honour the underlying truth in what the characters were experiencing. John and I have very similar aesthetics, in prep we mostly communicated through references and stills. A lot of the discussions were based around capturing the emotions of the characters, with emphasis on the change each would go through in the story.  

It was a really special project to be a part of. John, who is of Mexican American and Yaqui heritage, and I both feel strongly about telling the stories of indigenous peoples. These stories are ones that need to be heard, and are not told enough. John summed up our aims for the film in an interview with New Frame, “I wanted to show connections between Indigenous communities across the world, reflecting on the legacy of colonialism and show how we share a common experience of systemic racism. There’s a symmetry around the pain and struggle even to this day and a magnificence in our survival.”

Before production John spent several months visiting the community listening to oral testimonies- hearing their stories and understanding their point of view. Through these stories he began to draw parallels to his own people’s history, which became a way in to making the story his own. One teenager from the community, Noor Emandien, had a special interest in developing his skills as a filmmaker and wanted to get more involved, so he became our advisor and was later cast in the film.  

From the beginning our producers Khosie Dali and Imran Hamdulay wanted to decentralise white narratives both in the filmmaking and the casting.  We had a majority Black & mixed race South African crew as well as an all Black cast. The Kalk Bay community (where the film takes place) also own a share in the net profits of the film - they were such a huge part of telling this story, so it’s fitting that they can benefit from its successes. 

As a DOP, I’ve always been passionate about capturing stories that question a sense of belonging, provide windows into the human psyche and inspire us all to grow as humans. Filming ‘Sons of the Sea’ allowed for all of that and more. It’s inspired me to pursue narrative film deeper with hopes of contributing to telling more stories like these, those which have long been brushed under the carpet and slowly eroded from history.  

Check out these other articles about this beautiful project. 

https://africasacountry.com/2021/06/trapped-by-history

https://www.newframe.com/sons-of-the-sea-and-the-tentacles-of-colonialism/

Trailer - https://vimeo.com/491005222

The NZCS was fortunate to facilitate a live webinar discussing Virtual Studio Cinematography with NZ-born, US-based DP Barry “Baz“ Idoine, while he was in Auckland recently during lock-down in October.

Baz has rapidly achieved a high profile as cinematographer for his work on “The Mandalorian”, winning an Emmy for Outstanding Cinematography for a Single Camera Series in 2020  amongst other awards, and has recently wrapped shooting in Sydney on “Thor: Love and Thunder”.

He was joined by a local panel with an interest in Virtual Production, including DP Dave Garbett, Harry Harrison from X3 Studios, Richard Lander from Avalon Studios and Victor and Amber-Marie Naveira from The Granary.

Baz was very forthcoming with his experience and knowledge in this field and explained the in-depth intricacies and challenges of the virtual production process in great detail. 

Some of the interesting insights from the discussion included the following:

• Baz had the luxury of working with a top-end system in LA, which featured a volume  (seamless collection of LED screens) 23m in diameter, 7m high with a 270 degree array of screens including a fully domed ceiling. A similar studio set-up is also in use in Sydney now.

•  A wrap-around volume as above, is invaluable for reflective surfaces such as the Mandalorian character’s shiny chrome costume, but its a mis-conception that the volume will provide all the lighting needed. Invariably, supplementary lighting is needed off camera or behind the subject to provide contrast and modelling.

• The frustum (specific area of screens in the camera’s field of view, which will move as the camera tracks) is allocated higher resolution than the screens outside the field of view, to economise on processing power. The outside screens can have independently controlled brightness levels and areas which helps their use as light sources  or “light cards” both as fill light or anti-fill negative sources. 

• This is primarily a single-camera medium, although two cameras are often used, with the limitations being; there can only be one frustum in view at a time, and the “B” camera must be able to see that same area of screens as the “A” camera.

• The Emmy Award for “Single Camera Series” needs to be renamed, as its a legacy from the earlier days of single-camera film production versus multi-cam studio sitcoms like “Cheers” and “Friends” - whereas most productions invariably use more than one camera nowadays.

• Volume shooting is not limited to fanstasy/science fiction genres, and can be adapted to any script requirements with certain limitations: for example, situations involving interaction with a large crowd of extras are probably not best suited to shooting in a volume. Its also not easy to replicate daytime exterior hard sunlight situations on a Virtual Stage, which is more suited to soft ambient lighting. 

A recording of the 90min webinar discussion is available for NZCS members on the NZCS website here.

Thanks to Baz and all the contributers to the discusssion, and host Alex Glucina from KiwiCinematographer podcast series.

 ~ Donny Duncan NZCS, Professional Development Manager

 

 

 

 

 

The NZCS is pleased to announce we have negotiated several mid-career cinematographer placements on an international feature based in Wellington.

The Attachments provide the opportunity to shadow the Director of Photography on set and experience advanced aspects of the craft including pre-production time where possible.

These will be paid Attachments for a maximum duration of 15 days each. The 1st placement is expected to commence in Wellington around 11th October 2021, although this is dependent upon the current Covid-19 lock-down status in Auckland and may get delayed. The 2nd three week placement will commence approximately 1st November, 2021, subject to the commencement dates of the shoot.

The placements are intended for Wellington locals or candidates who can relocate themselves and self-accommodate. The selected candidates will be issued a standard contract by the Production Company and will join the payroll, per other contractors.

The aim of the Attachment is to:

To provide an opportunity for a mid-career cinematographer to upskill their confidence and ability to produce high quality feature film cinematography, and to provide another training pathway to the limited opportunities currently available. This is not a creative input role, but will be a mentored position, closely shadowing the DP and key technicians at work, observing pre-production and the creative decision making process on set.

Note: Unlike previous NZCS attachments under the Cushla Lewis Gender Diversity Program, this particular opportunity is not limited to female applicants only, however the NZCS remains committed to a mandate to grow and diversify the pool of emerging cinematographers in New Zealand.

To be eligible, applicants must:

• Be a member of the NZCS, and have industry experience in this chosen field.
• Have a track record of working as an up-and-coming cinematographer on short films, music videos, web series, or other genres. The applicant may not necessarily have an exclusive career as a Director of Photography.

To apply:

Please submit the following in electronic form only (Word file or PDF) by 9am Thursday 23rd September, 2021 to eo@nzcine.com with 'Wellington Cinematographer Attachment - application' in the subject line:

• Your NZCS Membership Number
• A full CV and Filmography including links to your completed works
• A reference (from a senior screen industry practitioner)
• A proposal (maximum of 1-page) outlining why you want to do the Attachment and what you look to achieve from the opportunity.

A shortlist will be developed from applicants and an interview (in person or virtual) may be required, at which time further details of the production itself will be provided.

If the lockdown allows the above schedule, we will attempt to inform applicants of a decision by Thursday, Sept 30th, 2021.

The NZCS is very pleased to announce that their application to the NZFC Screen Sector Covid 19 Capability Fund in August, for continuing support of the Cushla Lewis Gender Diversity Program was successful, and we are able to continue this rewarding program forward for another year.

We are now actively seeking production company partners and cinematographers who are willing to mentor up-and-coming female DP’s to help redress the serious imbalance in representation of the genders in our craft. Please click here for more information on the program and stay tuned for upcoming opportunities. For more information, you can reach out to our Professional Development Manager, Donny Duncan NZCS, here. 

The NZCS currently has three mentored placements in progress on “Evil Dead Rise” feature film, but the Auckland Covid-19 Level 4 lockdown has halted production in the meantime.

Alyssa Kath and Daniela “Nani” Conforte are both shadowing DP Dave Garbett as mid-career cinematographers and Alice Toomer is camera trainee on the 2nd Unit under the tutelage of 1st AC Bayley Broome-Peake and DP Ziga Zupancic. 

The NZCS gives thanks to the NZ Film Commission for their ongoing support.

Every three years the International Alliance of Theatrical Stage Employees (IATSE or IA) and the Alliance of Motion Picture and Television Producers (AMPTP) renegotiate the Hollywood Basic Agreement - the core contract between the IA locals and the studios.

The IA serves as the parent labour organisation for the many smaller local unions in Hollywood and around the U.S. and Canada. These locals represent specific crafts within a designated geographic area. 2021 is a contract year and negotiations are no where near a resolution.

The previous contract between the AMPTP and the 13 Hollywood locals expired on 31 July with no agreement, but an extension to 10 September was granted to allow more negotiating time. 10 September has now come and gone with no agreement. The IA has been in frequent communication with members regarding the grim situation around bargaining, and the word “strike” has become increasingly common on both union forums and Hollywood publications in the past few weeks. The IA has advised its members to continue work as per the previous contract while bargaining continues. In the meantime, all the Hollywood locals are arranging town hall meetings with their membership over the next week.

The negotiations have thus far failed because the IA and its members are demanding substantial, systemic reforms to the industry regarding insufficient wages, unsafe working schedules, and sustainable benefits for members. The 1990s and early 2000s saw significant erosion in union benefits and working conditions, and now in the aftermath of working through the COVID-19 pandemic the membership is demanding reform. Among these reforms are a reduction of hours worked, guaranteed 10 hour turn arounds, and a restructuring of how productions contribute to the union’s healthcare and pension fund.

As we are all too familiar with in New Zealand, wages have not kept pace with the increases in cost of living. While current contracts have provisions for annual raises, they have barely kept pace with inflation. The IA is currently trying to tie wages to the current living wage in Los Angeles and base future raises from there. A recent press release by Local 871 in Los Angeles (script supervisors, coordinators, and accountants) details that some members are making approximately half of the current Los Angeles living wage. Unsuccessful calls for shorter working days began after the death of Focus Puller Brent Hershman in 1997 -who fell asleep while driving home after several consecutive 16 hour days. Six other IA members have suffered the same fate since then, and inspired Haskel Wexler’s documentary “Who Needs Sleep” in 2006. More recently, 13 top cinematographers including Emmanuel Lubezki and Roger Deakins penned an open letter to the studios advocating an hours reduction to the unsafe work schedules. Unfortunately, all of these cries over the last 25 years have fallen on deaf ears.

Union crews in the US also rely on the union for their health insurance and pensions, which are funded by contributions from the studios based on residuals. When productions intended for online streaming platforms began in earnest in the late 2000s, “New Media” contracts with lower rates and reduced benefit contributions were created to help grow the then nascent form of production. However, as the number of productions intended for streaming grows, the healthcare and pension fund has become unsustainable. The IA is looking to restructure contributions from streaming productions to the fund to make it sustainable again.

While in New Zealand we were virtually unaffected by COVID-19, crews in Hollywood worked through the pandemic as soon as it was possible. This included daily testing swabs, frequent stand downs due to cases onset, and the widespread introduction of “French” 10 hour days to U.S. sets for the first time. However, now that COVID-19 cases in Los Angeles are declining, the length of shoot days has returned to the usual 12.5 plus but without the return of lunch breaks.

Having had a brief glimpse of conditions we take for granted here in New Zealand, LA crews are gearing up to strike to improve their contracts. The 13 Hollywood locals (three of which are national: Camera, Editors, and Art Directors Guilds) are fully united for the first time and while a strike is looking increasingly possible, there is hope that a better contract can be struck. Closer to home, this should serve as both a cautionary tale to our New Zealand industry, and as a reason to appreciate the working conditions we have here.

You can read some related articles here:

Deadline "IATSE & Producers Set To Resume Contracts Talks Today"

Variety "IATSE And AMPTP Remain Very Far Apart in Contract Talks"

KCWR article "Hollywood sets: What it's like working 14-hour days, and whether a strike is coming'

Indie Wire "Emmanuel Lubezki, Roger Deakins, and More DPs Urge Hollywood to Address Hazards of Long Workdays"

~ Michael Paletta, 1st AC

7th September 2021 – SCREEN INDUSTRY DISTRIBUTION

Kia ora koutou katoa to all in the Screen Industry, hoping you are all staying safe in your bubbles!

Please note the ScreenSafe COVID-19 Health and Safety team is currently looking at what Protocols need to be reviewed, particularly in light of the new Delta variant.

For now, please refer to the ScreenSafe website https://screensafe.co.nz/covid-19-coronavirus/ – particularly the Protocols and Summary Guidelines around L4, L3, and Level 2.

These are still a really great guide for what is allowed at each level.

You can download today’s update in PDF here.

For the avoidance of doubt, please note the following:

Level 4: NO filming is possible/other than registered news organisations and essential programming.

Level 3: Very limited production activities may be possible. Please carefully assess whether your activities can be postponed to L2. If not, please carefully assess each action and whether it complies with the guidelines and works to minimise risk at all points.

The key issue to consider for Level 3 is physical distancing. For instance – location scouting, with appropriate PPE, and in controlled circumstances, can be undertaken – depending on the ability to minimise contact / risk / avoidance of breaking bubbles.

Any activity needs to be able to adhere to physical distancing guidelines. This limits both prep and filming activities – e.g. close contact between crew such as a camera team who cannot be physically distanced, or performers and makeup/hair. Please see L3 guidance for full details.

Yesterday the government made some more changes to the COVID-19 rules. The below changes will be reflected in the updated Protocols, but since we know a lot of you are preparing for filming in Level 2, the below will hopefully answer your most pressing questions for Level 2 filming.

Level 2 / Mask Wearing

Mask wearing is now mandatory for anyone aged 12+ in indoor public places like shops, malls and public spaces: https://covid19.govt.nz/alert-levels-and-updates/alert-level-2/#work-and-business.

For screen work, ScreenSafe highly recommends mask wearing at Level 2. And some productions may require it.

Level 2 / Restrictions on Gatherings

Gatherings (social gatherings, concerts, hospitality businesses, etc.) are now restricted to 50 people for indoor venues and 100 for outdoor venues.

However, work sites like film productions do NOT adhere to number restrictions, PROVIDED they are a working in a fully controlled environment (with contact tracing and health questionnaire for everyone on site, and with all necessary hygiene and PPE measures in place).

Note: Due to the aggressive nature of the Delta virus, productions are advised to take careful consideration before filming with extras and/or large crew numbers during Level 2.

Level 2 / Physical Distancing in Public Spaces

Physical distancing in public places, e.g. retail stores, libraries, gyms and museums will be 2 metres.

However, for work sites like film productions the physical distancing requirement is still 1 metre, PROVIDED they are a working in a fully controlled environment (with contact tracing and health questionnaire for everyone on site, and with all necessary hygiene and PPE measures in place).

Note: Close Proximity work (work within 0-1 metres) like hair and make up are still allowed for, and for screen work is specifically addressed in the Close Proximity Environment sections of the Screen Industry COVID-19 Protocols.

Travel Out of Auckland – Current

While Auckland remains in a higher COVID level to the rest of the country, essential workers traveling out of the Auckland region will need to show proof of a negative COVID-19 test from the last week. Note: Only news and media outlets are classified as essential work, so for most of Auckland screen workers regional travel is not allowed until Auckland is in Level 2.

Delta / Other Likely Updates to the Protocols:

As per the updated Government guidance – some recommended guidelines are now mandatory or should be applied in all circumstances, namely:

Check-In/Contact Tracing – while everyone seemed to be doing well on this before, it is now mandatory in all circumstances for all sites, so ensure this is very closely adhered to.

Risk Minimisation – e.g. Hygiene Procedures, Airflow, Contact Minimisation. Look to assess your pre-production, shooting (when allowed), and post production, around how you can increase hygiene and minimise contact. From wearing PPE, to limiting numbers and increasing airflow. These are all our tools to help minimise the risk of exposure and spread.

Testing/Vaccinations/Privacy & Health Concerns – our revision is also likely to contain further guidance in this area. Until clarification is provided, please follow current MBIE guidance and ensure that human rights and privacy rights are respected at all times.

Registration with ScreenSafe – please also ensure every production continues to register with ScreenSafe –
https://screensafe.co.nz/covid19/registration/.

Any specific queries or concerns, please reach out to ScreenSafe at info@screenguild.co.nz or your industry organisation.

Ngā mihi,
SCREENSAFE NZ

Last updated on 7 September 2021

A significant gap in the industry has been identified when concerned with “Virtual Production Capabilities” in New Zealand. Most training institutes and programs only focus on using game engine technologies for teaching game development. 

In contrast, the film and media industry only focus on the traditional Camera, Scriptwriting, Lights, Acting and Art Departments, which has created a void for the emerging field of Virtual production and the talent who understands the complexities of bridging the gap between traditional storytelling mediums and gamification.

As a think tank training program, Virtual Production Dojo aims to fill this void by offering hands-on training in Virtual Production and Gamification, and more significantly, supporting the ethnic communities in New Zealand and globally.

The program aims to add resilience and confidence in the next generation of graduates and those ready for a career change, bringing a more resilient and curious talent pool into the market prepared for the coming age of virtual production, animation, gamification, and mixed entertaining experiences by building Virtual Production Capabilities and talent pool and engaging Ethnic Communities and provide better economic growth opportunities.

For anyone who may be considering to upskill in the emerging field of Virtual Production they are currently accepting enrolments for their pilot program starting in September 2021. 

 More information about Virtual Production Dojo and the Training Program can be found here: https://virtualproductiondojo.com/

WELLINGTON - Friday 13^th August     
AUCKLAND - Friday 27^th August

The ScreenSafe/SWAG Screen Industry Professional Respect Training Project – is back up and running for 2021.

The ScreenSafe/SWAG Professional Respect Training Project was developed to support WORKSAFE's health & safety guidelines around harassment. 

The course will address predominately sexual harassment and also includes bullying, harassment, definitions, disclosures, and respectful behaviours in the workplace. Be a part of this screen sector culture change and help make the sector a safe environment for everyone.

The initiative designed and implemented by ScreenSafe and SWAG, and with the financial support from NZ Film Commission, NZ on Air and Te Māngai Pāho.

ScreenSafe and SWAG encourage everyone in a position of responsibility to upskill accordingly.

To secure your seat, please email the details below to workshops@screenguild.co.nz

Date and town of workshop: 

Name:

Company (if relevant): 

Preferred role title:

Email:

Mobile number: 

Dietary requirements: 

Guild:

Numbers for each workshop are limited to 24, so book your space now.

Time: 8.45am arrival for a 9am start – 5pm

Note: This workshop focuses on sexual harassment prevention within the Screen Industry.  If you would like to talk with someone about the content of the training and the safety of participants during the workshop, please contact Kelly Lucas at ScreenSafe (info@screenguild.co.nz ) or our independent Sexual Harm Prevention Specialist and Workshop Facilitator Rachel Harrison (rachelharrison103@gmail.com). 

Jaron Presant ACS, international cinematographer from L.A.

In June Christchurch was fortunate to have Jaron Presant ASC share a conversation around XY Chromaticity and it’s uses. After being in NZ for nine months, Presant found a gap in his schedule to hold a conversation with some local cinematographers.

After production on the Apple TV+ production Mr Corman, Los Angeles was shut down due to the COVID-19 pandemic. Presant found himself relocating, along with production, to New Zealand.

An attempt to restart production in LA under COVID-19 protocols proved too costly and the decision was made to shift the production to New Zealand, with Wellington doubling as San Francisco. “It was a difficult task to say the least, but that process I think made us really focus in on what aspects of the environment were critical to the story and in what way.” Says Presant, “I think the show benefited a great deal from the shift even beyond the obvious ease of process.” From there Presant jumped from Mr Corman into another international Amazon production, Don’t Make Me Go.

And it’s not just the ease of process that has won him over. Presant says that the crews here have been so creatively engaged and unbelievable to work with. “It’s been an absolute pleasure and at the end of long days I looked around to see a group of faces, all of which I would gladly go spend an evening with.”

Local cinematographer Bevan Crothers was second unit DP on the production and suggested that while the shoot was fast paced at times it gave a real insight into the "vision, experiences and processes of Jaron Presant ASC."

Bevan Crothers, Cinematographer and NZCS committee member

“I feel like that’s the goal of any group one puts together, that you can go through massively stressful scenarios together and still want to hang out.” Says Presant. The New Zealand scenery was not lost on Presant, calling it ‘unbelievably inspiring’ during his two week break and extensive scout. “I spent my down time seeing the West Coast of the North Island and a large journey around the South Island. Across the board New Zealand is so stunning, and also so varied.” 

While in New Zealand, Presant had an opportunity in his schedule to share some of his extensive knowledge with the local Christchurch cinematography community. New NZCS member Simon Waterhouse had nothing but praise for the evening describing the knowledge shared as a real treat. “I'm a new member, so this was my first NZCS event - being in Christchurch we don't get much exposure to the wider industry so it was lovely to meet some NZCS regulars.” 

Attendees gather at the venue foyer, with an opportunity to network and socialise.

The topic of the night, lighting using XY Chromaticity coordinates, which Presant described as the most exciting part of the cinematography of today. “With new technology comes new forms of control. Running lights in xy modes, where the color is determined by a chromaticity coordinate on the CIE Yxy graph, allows us to color match instantly and accurately like we have never done before.

Waterhouse says of his biggest takeaway, “I found it really enlightening seeing the industry shift towards RGB sources and the supporting technology. I'm definitely keen to explore shifting my lighting workflow towards XY controllable sources.”

Jaron Presant ACS

While the excitement of colour and light control was a hot topic, it was met with the broader context of pipeline control. “With all new technology, our job is being split farther across the entire production process, spreading forward into prep with pre-visualization and virtual production and farther into post with all the nuanced color correction and vfx we can do.  It’s still our job to control the image and to me, our job is to follow that image from conception through presentation.” He says developing a deep understanding of how a camera responds to light and the corrections planned for before final display is the key to allow a cinematographer to be artistic with confidence. 

The event was extremely well received, with Bree Loverich of Screen CanterburyNZ in attendance, saying the evening was a “fantastic opportunity to learn more about the craft from such an internationally accomplished DOP, but also a great chance to network and be part of the growing screen community in Christchurch.”

Perpetual learning is something Presant is especially passionate about. “I think that the process of learning is integral to the art of cinematography. Every job I’m trying to test something new, try something we haven’t done before. We have to keep learning, keep pressing forward into new areas, and part of that process is passing on what we learn to others. I make it a point of teaching when I am not working, whether through universities, film schools, film festivals or mentorships. My hope is that those that I teach go and learn on their own and then come back and teach me something. That’s the goal - that we all move forward learning together.”

~ John Ross, Cinematographer

With a background as an artist in technical design and visual content creation since 2011, Mads is a Māori filmmaker and emerging cinematographer based out of Christchurch. 

With strong family ties to both Ngāi Tahu and the Cook Islands, Mads grew up on the road with his mum and brother where he developed a love for film, photography and art. After binging heaps of anime and smashing a degree in 2014, he bootstrapped a startup with two long time friends and Māui Studios was born. 

Today Māui operates as a creative powerhouse, where he runs a tight knit film production team as creative director. They deliver end to end content solutions in the realm of digital creation, talent discovery and tech exploration so they can give back to the communities and organisations that helped raise them. 

Mads has been blessed with opportunities to travel through film as a DP on a range of different productions; leading an expedition of Ngāi Tahu youth across Silicon Valley, spontaneous haka on the great wall of China, eating fire ramen in Japan, surviving twenty days across the pacific ocean aboard celestial waka Fa’afaite in the Land of Voyagers and shooting 70+ short stories of indigenous social entrepreneurship in the whānau ora space for Te Waipounamu.

With aspirations to write and direct his own screenplays and business ambitions to facilitate more productions being led in the South Island, Mads and the team at Māui are launching a Virtual Production Studio right now. They have their LED volume in place and are refining acoustics that will be ready for action any second!  All of which are means to provide innovative and accessible solutions for local and international filmmakers seeking space to shoot their own productions.

You can check some of Mads work here.