A new trailer for Mystic Season 2 has recently dropped on CBBC’s Youtube Channel. This season was produced by David Stubbs (DEGANZ), and directed by fellow members Aidee Walker and Caroline Bell-Booth. We would like to extend a big congratulations to the team!

A family thriller with a supernatural twist, Mystic follows London-raised teen Issie who moves to rural New Zealand. After encountering a frightened and mysterious horse in the wilderness, Issie unravels a series of secrets. Mystic was shot on location in Auckland.

The show mixes recognisable kiwi landscapes together with international and local talent. British actress Macey Chipping is the show’s lead, and Kirk Torrance (Outrageous Fortune) plays grumpy stable manager, Sam.

Mystic is an adaptation of the Pony Club Secrets book series by kiwi journalist-turned-novelist Stacy Gregg. The show is an international production between TVNZ and CBBC. Following the success of its first season on TVNZ and BBC iPlayer, Mystic was renewed for a second and third season.

Season 2 will be released for New Zealand viewers next year, but in the meantime, the first season is available to watch on TVNZ OnDemand.

Each year we are delighted to support writers and directors with their feature film scripts through Table Reads, a joint initiative brought to you by DEGANZ and the New Zealand Writers Guild. Following a successful virtual run in 2020, we held this year’s Table Reads online, allowing members and actors from across the country to participate from the comfort of their own homes.

We saw four exceptional virtual table reads held between May and November. We would like to give a special shout out to this year’s selection:

Persistence – writer/director Rebecca Tansley.
Actors: Kirsty Hamilton, Ella Hope-Higginson, Kirsty Bruce, Caleb Wells, Maté Lagae, and Chantal Claret.

Before the Darkness – writer/director Alex Galvin.
Actors: Tim Carlsen, Helen Murphy-Reid, Tai Berdinner-Blades, Frith Horan, and Mark Clare.

Escape – writer Daryl Belbin, director Anton Steel.
Actors: Grant Beban, Stephen Lyell, Tim Carlson, James Crompton, Jodie Hillock, and Stephen Papps.

Tamada – writer/director Tim Tsiklauri.
Actors: Hilary Norris, Hamish Boyle, Jamie Irvine, Maté Lagae, and Jo Clark.

Well done to everyone involved and all the best with your projects!

Last updated on 18 January 2022

Auckland UNESCO City of Music has announced the recipients of the EQ Grant for 2021. Congratulations to DEGANZ member Anna Duckworth for being amongst this year’s list of recipients.

Over 120 submissions were appraised by two selection panels composed of experienced women from the screen and music sectors. Three project grants of $10,000 were available, in addition to access to mentors, crew, and  technical equipment.

EQ’s kaupapa is to build a community of female screen and music professionals by pairing directors with musicians.

Meet the 2021 recipients:

  • Musician Grace Moller and Director Faye McNeil
  • Musician Lou’ana and Director Anna Duckworth
  • Musician Reshma Martin and Director Jolin Lee

Well done to this year’s recipients. We look forward to seeing these projects come to fruition.

Last updated on 26 November 2021

24th November 2021

As per the governments announcements on Monday afternoon, please note the following:

New Zealand to Enter the New Traffic Light System on 3rd December

The whole country will be moving into the new system at 11.59 on 2nd December (effectively from Friday 3rd December):

  • Auckland will enter at the RED level
  • Other regions will start in the ORANGE or RED level depending on regional vaccination levels
  • No regions will go directly to GREEN

Auckland Hair Dressers and Barbers to Trial the New System

Hair dressers and barbers in Auckland will be allowed to open from Thursday 25th November to trial the new vaccination passport system. This is a trial of the system for this industry only, so unfortunately it does not mean that we can do hair & make up on set yet.

PS! Once we enter the new traffic light system on 3rd December, it is expected that all productions that use vaccination passports will be able to do Close Proximity work (although with appropriate PPE and hygiene measures in place).

Revised Screen Industry Protocols for the Traffic Light System

ScreenSafe are working hard to revise the Screen Industry protocols in line with the new Traffic Light System. Since we are still waiting for further government guidance about the new system, including the new legislation in regards to workplace vaccinations, the final protocols may not be ready by the 3rd of December. However we aim to issue enough guidance so that productions will still be able to operate safely from the 3rd of December.

Your Vaccination Passport

If you are double vaccinated you are now able to get your vaccination passport. You must have this in order to attend a vaccination passport shoot.

For more information, please go to this link: https://mycovidrecord.health.nz/

NZ Pass Verifier App

This is the official Ministry of Health phone app to verify if someone is fully vaccinated (or has a medical exemption). It is now available to download on any Apple or Android phone.

You can find more information HERE.

Sincerely,
The ScreenSafe COVID-19 Group

Link to full release here in PDF.

Last updated on 25 November 2021

My first job right out of film school was to take over an overnight unpaid assistant editing job on a low budget feature… and I had no idea what I was doing.

Film school gave me friends in the same industry, and a good grasp on how to use Avid and what editing was about creatively, but at the time there was little instruction on the technical aspects that the assistant editor role required. I think we only had one day on how to assist!

I was given a short overview of the job by the previous assistant and was left to it. It was a little bit of a trial by fire but (thank goodness for the internet) I was able to google answers to just about everything I had questions for.

I communicated with the editor via a notepad, and he offered something amazing—if I wanted to cut some of the rushes, he would watch and give me feedback. So I spent half of the night importing, syncing and organising, and the other half cutting! It was an excellent learning experience and when we eventually met in person, he told me that he always offered that to his assistants, but nobody ever took him up on it! My next three projects were with the same editor, since at the time nobody else knew who I was.

My first job outside of my editing mentor came through Women in Film and Television (WIFT). I met a producer at a networking event who needed an assistant. My following job also came through attending a WIFT meeting, though kind of sideways… I had been offered a data wrangling job via email but the message went to my spam folder! Luckily the person who messaged me saw me at a WIFT event and asked me about it.

My first job, the unpaid overnight one, was in December 2009. The data wrangling job came in July 2010, and it allowed me to finally quit delivering pizza and move into the film industry full-time.

Kerri with her first editor carpark as an editor on The Brokenwood Mysteries / Photo: Supplied

My first bit of advice, and I know this may be super obvious, is to make sure you do your job reliably. You don’t have to go overboard, but producers and editors expect you to get your work done. Make sure you know what they need from you—and do it well. If you make their working life easier, they’ll call you again.

I assisted full-time from 2010 until 2016. During this period I cut as many side projects as possible in my spare time. At the beginning, most were unpaid (or lightly paid) passion projects from other creatives who were also in the early stages of their careers. It took a lot of energy, and it sucks that most of these early jobs are unpaid, but working on so many short films and music videos really honed my storytelling skills. I should also shout out the DEGANZ editing masterclasses! I had the opportunity to attend two of them and they were so valuable in helping me upskill.

Making the move from assistant to editor was really scary. I was at a point in my assisting career where I was very busy. I was also occasionally getting offers for small editing jobs that I had to turn down because I was already occupied by assistant work. You could make a great career out of assisting, but that’s not what I wanted, so I had to stop taking assistant work and focus on selling my skills as an editor. My first year exclusively editing was slow, and as a result I took a big pay cut. But I kept pushing and slowly built a good reputation as an editor and started getting return calls.

My advice for people entering the industry is to say yes to opportunities as often as you can without burning yourself out. Work hard, practise your craft, and be kind. Be comfortable turning down work that won’t take you where you want to be. And let the people you work with know what your goals are—you’d be surprised how much support you will find!

I’ll always be grateful for the willingness of New Zealand editors to be mentors, to give their time and to uplift anyone who wants to give it a go. I hope I can pay it forward!

 


About Kerri Roggio

Kerri is an Auckland-based editor. In the last few years, she has edited the comedy horror film DEAD; on TV series Mystic (season 2), My Life is Murder (season 2) and The Brokenwood Mysteries (seasons 4-7); as well as short films, documentaries and music videos.

kerriroggio.com

How I Got Started in the Industry is a new guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with admin@degnz.co.nz if you’re a member and would like to share your story.