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What’s Up In 2020?

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We’ve got the elections this year and that means everything is up in the air.

Simon Bridges says he’ll likely reverse the TVNZ-RNZ merger if National gets back into power.

The Film Industry Working Group’s recommendations around collective bargaining for the screen industry could go out the window.

NZ On Air could get an increase in funding… Or not.

There is some certainty in the media space, though. My predictions:

TVNZ will continue to lose money as long as it stays the way it is, no matter how good a job Kevin Kendrick does (and by all accounts he’s doing a good one).

TV3 will face the same uncertain future it has since it started in 1989, even with a new owner.

The NZ Screen Sector Strategy 2030 will… do something good, bad or indifferent (industry bets seem to be on either of the latter two at the moment).

NZ On Air will have a new CEO shortly—whether it’s a great opportunity for someone new to make a mark or a hospital pass will come clear by the end of 2020.

And the rest of the world, including Australia, will keep capitalising on the demand for internationally-focused TV drama produced locally.

At DEGNZ, it’s very much steady as she goes.

We have a strong board in place who are highly proactive around key issues for us and the industry.

Our focuses strategically will be copyright, collective bargaining legislation, post-production workflow and training, and keeping an eye on the vocational education work being done by various entities, which will get a lot of attention in 2020. There are, of course, always unexpected developments that need a response and we’ll stay alert to these as the need arises.

As a union now affiliated to the Council of Trade Unions, we will have an opportunity to sharpen our skills and knowledge with them in preparation for negotiations should the collective bargaining legislation go through.

We’ll continue to provide membership services including our professional development programme, thanks to the financial support of NZFC, the Vista Foundation, the Australian Screen Directors Authorship Collecting Society, accounting firm VCFO, and with the support of Resene, Event Cinemas, Rialto Cinemas, Dominion Law and Handy Training Online.

We’ll maintain our partnerships on various activities with the NZ Writers Guild, Equity NZ, SCGNZ, NZAPG, SPADA, WIFT, Ngā Aho Whakaari, NZCS and look to forge a relationship with the newly-formed PASC.

DEGNZ is committed as we always say to ‘the creative, cultural and financial well-being of New Zealand directors and editors’.

With the shake-ups in our domestic screen industry scene including more SVODs coming online, and on the international stage with Brexit, the U.S. elections, and the novel coronavirus, we hope that you will join with us as we head into what is undoubtedly going to be a tumultuous 2020.

 

Tui Ruwhiu
Executive Director

 

 

 

 

 

Just Not Cutting It

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Just over four years ago a group of senior editors were sitting around on a Sunday afternoon in Auckland lamenting the fact that standards just weren’t like they used to be. They questioned each other as to why that was. The answer they came up with was that in the old days, i.e. the days of film, assistant editors worked in the cutting room like apprentices, learning their craft under the tutelage of the cutting editor.
In this way they were learning the technical aspects of their work and:

  • observing the editor at work,
  • getting the chance to cut on the project and have their work critiqued by the editor,
  • and being part of the conversations between the editor and the director, producer, funding body, broadcaster, etc.

All the while they were on the project for essentially the full length of the edit.

With the advent of digital editing, the role of the assistant editor quickly morphed into dealing much more with the technical preparation of material for editing, often on opposite shifts from the editor. This was usually done in a cost-saving exercise by the producer so that one edit setup could be used across 24 hours, rather than having to hire two to work in parallel. Additionally, the assistant editor’s time working on the project was reduced, because producers could see that once the technical work was finished there was a way to further lower costs.

All this meant that the chance to observe, cut and receive critique was often curtailed unless the editor made a considered effort to ensure their assistant got the opportunities. For the editor it meant working unsupported through post, dealing with the increased digital complexities of an edit on top of doing their job.

The impact this had became obvious when senior editors were being brought onto projects to ‘fix’ them because less experienced editors were being held responsible for not delivering a satisfactory cut.

At the same time, the technical nature of the work was becoming more complex and assistant editors were often required to figure it all out by themselves without significant guidance from the editor who was too busy doing what they were hired to do.

With the financial support of the NZ Film Commission, DEGNZ began to offer Assistant Editor Workshops in late 2018 to seek to formalise and standardise the technical aspects of the assistant editor’s role in a two-level training programme, which also recognises the Technical Assistant Editor as a career path in itself.

DEGNZ, again with NZFC support, introduced Feature Film Editing Attachments, so that junior editors seeking to work in features could get back into the room with the editor for the creative aspects they are often missing out on.

A third issue arising from digital editing and productions is digital workflow. Again, many are being left to figure it out for themselves with the result that a digital mess is being delivered to professional post production houses who have to waste precious time and resources sorting it out. This of course costs money that could be used to better effect on the creative side of post-production.

DEGNZ approached the Screen Production and Development Association (SPADA) with the issue. As a result, inaugural Post Production Workflow Workshops will be run by SPADA with DEGNZ in Auckland and Wellington next week, primarily targeted at producers who are the ones most likely to suffer when post doesn’t go well.

A bigger picture issue that DEGNZ is currently working on with a number of post houses nationally is to develop Best Practice Standards for post-production. We hope that the initiatives we have put in place and others we want to introduce over time will deliver greater creative outcomes and make the technical side more efficient and cost effective for everyone.

Tui Ruwhiu
Executive Director

SPADA Post-Production Workflow Workshops

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SPADA Post Workflow Worshops

SPADA, in association with DEGNZ, presents a day-long workshop introducing the concepts and processes of the post-production workflow.

Delivered by Editor Annie Collins and Producer Catherine Fitzgerald, this workshop will give an overview of the entire post-production process including budgeting, what needs to be covered in the technical workflow, when it’s covered, and with whom, VFX, post-sound, and scheduling from commencement of post-production through to output of deliverables.

Participants will gain an understanding of the different roles and people involved, and an awareness of how to manage and schedule a professional post-production workflow.

This workshop is ideal for emerging filmmakers, aimed at producers and directors with a project or two under their belt who are looking to progress their post-production knowledge and practices. Editors are also welcome to attend, and if you know a producer or director who could benefit, give them a nudge!

Workshop Details

Wellington
Mon 16 September, 10am – 4:30pm
Random Group, 43 Hanson Street, Mount Cook, Wellington

Wellington – Book Now

Auckland
Tue 17 September, 10am – 4:30pm
Department of Post, 19 Newton Road, Grey Lynn, Auckland

Auckland – Book Now

Price:
SPADA / DEGNZ members – $45 + GST
Non-members – $85 + GST
(Tea, coffee and lunch provided)

Contact comms@spada.co.nz if you have any questions.

Screenlink: Screen Content for the Global Market

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On July 15, DEGNZ, SPADA and WIFT warmly invites members to join us for a conversation on developing, producing and selling content that will have international appeal. Come and hear insights from a panel who have each achieved success in the international market.

Hear from Mark McNeill of Razor Films, executive producer of Dark Tourist, New Zealand’s only Netflix Original series to date; Paula Boock of Lippy Pictures, coming off the success of German-NZ co-production The Gulf with global distribution by Banijay Rights; and Steven Zanoski of Filthy Productions, which produced Bad Mothers for Australia and sold the format of Filthy Rich to Fox Network starring Kim Cattrall. They join moderator producer/writer Christina Milligan. 

WHEN: Mon 15 July, 6PM. Talk kicks off at 6:30PM.
WHERE: Horse & Trap – The Loft, 3 Enfield St, Mount Eden, Auckland

Cash bar
with nibbles provided after

This event is part of the Screenlink series by the Directors & Editors Guild of NZ, and hosted with the Screen Production and Development Association of NZ and Women in Film and Television NZ.

Registration

DEGNZ / SPADA / WIFT members – Free
Non-members – $5 koha (door entry, cash only)
Sorry, we are currently at full capacity. Email tema@degnz.co.nz to be added to the waitlist.