News

The survey results make for some sobering but unsurprising reading. If you haven't read André Chumko's article in Stuff's The Post, which does a good job of encapsulating the results, you can find it here. According to Patricia Watson from WIFT, their research shows that there are certain areas of concern regarding pay parity in our sector; and it is now their priority to highlight the particularly troublesome examples and to work towards better parity across the board. Click here to read the survey in full.

Final policy details of changes to the NZSPR have been released, concluding the review. Details announced included the policy settings for the redeveloped international Uplift, and a few additional technical changes to the domestic criteria alongside the change to allow all types of productions to access other government funding alongside the rebate. The changes will take effect over coming months. You can read a summary of the changes here.

The Auckland Screen Taskforce is set to launch with it's first meeting to be held in mid September. An initiative of Screen Auckland in association with Film Auckland, the Taskforce is intended to engage at a strategic level within the sector and the region with a panel made up of a wide range of screen industry and Council Owned Organisation representatives that interact with the screen sector with the aim to create better outcomes for the sector.

Thanks to The Screen Guild, MSD now have staff dedicated to assisting anyone who have been affected as a result of the SAG-AFTRA Union (US) Strike. The team can asses your eligibility for temporary financial support, and can also help you access free and anonymous, phone based counselling. Here is a link to the contact form. MSD will get in touch with you directly, or you can email your question here.

The Traffic Light system is designed for living with COVID-19 in the community. This is of course a huge mind-shift for everyone, but it is built on the foundation of one of the highest vaccination rates in the world.

Overall, the intent of the new system appears to be:

• Encourage everyone to get vaccinated so that we can safely reopen the country
• Reduce stress on the health system and protect the vulnerable
• Ensure certainty and business continuity by incentivising businesses that use the vaccination passport system

The Traffic Light System will offer businesses much more flexibility and more certainty in regards to business continuity. COVID-19 restrictions within each level of the Traffic Light system are designed to encourage businesses to use vaccination passports, where only vaccinated staff, contractors and customers are allowed into a business or work site.

For productions using vaccination passports there are no restrictions on numbers on a work site. And Close Proximity work (make up, stunts, actor interaction, etc.) can happen at all levels, although with increasing risk minimisation tools (PPE, hygiene measures, testing, etc.) in place when moving to the higher levels. 

Productions choosing NOT to enforce a vaccination passport system may have restricted access to some council and private locations, and some locations may not be available to those productions. Close Proximity work is only allowed in the green level.

We STRONGLY urge you to familiarise yourself with the new protocols. And in the next week we hope to also publish department specific guidelines for the new system.

Thank you to the NZ On Air and the New Zealand Film Commission for funding the review of these protocols. 

Full release here of the key updates.

ScreenSafe COVID 19 Health and Safety Protocols Review - Traffic Light System Documents:

ScreenSafe COVID 19 Health and Safety Protocols for the Traffic Light System Guidance - updated 14th December 2021

ScreenSafe COVID 19 Health and Safety Standard

These documents need to be read and utilised together.  These documents are intended to give Production Companies and HOD’s guidance and forms to manage Covid 19 on a working production.  

Vaccination Passport Productions Traffic Light System Guidance – updated 14th December 2021

Non-Vaccination Passport Productions Traffic Light System Guidance – updated 14th December 2021

Surveillance Testing information sheet here updated 14th December 2021

Each production is required to register with ScreenSafe – please read about these requirements carefully in the Protocols. 

ScreenSafe Production Registration link

ScreenSafe COVID 19 Health and Safety Department Roles (these will be updated in the coming week – 14th December 2021)

A very big thank you to the ScreenSafe COVID 19 Health and Safety Group for all of your hard work putting these documents together.

Ngā mihi,
Kelly Lucas,
EXECUTIVE OFFICER

Screen Industry Guild Aotearoa New Zealand Inc.
(Previously the NZ Film & Video Technicians’ Guild Inc.)

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

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

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 - particularly the Protocols and Summary Guidelines around L4, L3, and future planning for Level 2.These are still a really great guide for what is allowed at each level. 

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. 

Delta / Likely Updates to the Protocols:

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

Face Coverings - Delta is more than twice as transmissible as previous COVID-19 variants. Please ensure mask wearing is in line with government recommendations and is more strictly adhered to. This is likely to also be required at Level 2 in more circumstances than previously. 

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 - eg 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

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

Ngā mihi, 

SCREENSAFE NZ

$35m project to transform historic studios poised to start at Alert Level 3

A planned $35 million expansion for Auckland Film Studios will go ahead as soon as COVID-19 alert levels allow, after Auckland Unlimited re-confirmed its commitment to both the project and the region’s economically important screen industry.

Auckland Unlimited, the region’s economic and cultural agency, is partnering the Government on the major expansion on behalf of the studio’s owners – Auckland Council.

The year-long project, which will see two new sound stages added to a facility that has long been the backbone of the region’s screen production industry, was due to start at the end of August. 

However, Amazon Studios’ decision to move production of its TV series based on The Lord of the Rings from Auckland to the United Kingdom following the first season means studio space it was expected to require for season two in Auckland will instead be freed up. 

Auckland Unlimited Chief Executive Nick Hill says: “We are responsible for Auckland Council’s $5 million project co-funding, so it was prudent to go back to the fundamentals and consider whether a lack of future demand from Amazon affected our region’s long-term need for new sound stages. 

“But after pausing to review the plan, it is very clear the reasons for developing new stages in Auckland stack up as strongly as ever. Auckland has long experienced a shortage of quality studio space and we have a key role in ensuring our region’s billion-dollar screen sector has the level of studio space it needs to keep growing, create skilled jobs and support businesses.

“The expansion plan for AFS was never about any single production. It has a long-term horizon. So on Council’s behalf, we are pleased to reassure the industry with certainty over the future of one of our region’s premier studios.”

The project is part of Auckland Unlimited’s support for the screen production industry, which delivered about $600 million in GDP in the year to March 2020 (Infometrics).

“Crucially, the new stages and support buildings will mean more than one production can use a major Auckland studio at the same time, which is something our industry has been crying out for – particularly domestic producers,” says Nick Hill.

AFS is a focal point for the west Auckland screen heartland where many of the region’s 4000 screen industry workers and 1800 supplier companies are based.

Nick Hill says Amazon Studios’ decision to keep its post-production work for season one in the city until June next year is a reflection of the global regard for the capability of Auckland’s post-production sector. 

While Auckland benefitted from a large share of the Amazon production’s $650+million New Zealand spend for season one, Nick Hill says its departure will allow a more diverse production pipeline to return to Auckland over the next year.

“Our Screen Auckland team has continued to attract other productions since Amazon’s came here, and it has already fielded numerous international and domestic inquiries for space since Amazon’s departure was announced,” says Nick Hill.

Screen Auckland’s public film location permitting on behalf of Auckland Council is also at record levels, with more than 1000 permits issued in the 2020/21 financial year (previous record was 635).  

“Auckland’s current pipeline of international and domestic projects has total space requirement well in excess of current supply, even without Amazon.

“That will help some of the crew whose contracts finished with the wrap of season one to return to work sooner than the timeframe they had been facing, which was likely to be mid-next year at the earliest,” says Nick Hill.

Auckland Unlimited is working with industry and the NZ Film Commission to advocate for a clear path forward in relation to managed isolation border issues which remain a significant impediment for production attraction.

“The places are needed so the very small number of overseas cast and crew that are required to unlock significant local employment and revenues can get into the country,” says Nick Hill.

International data points to ongoing strong demand for content and therefore studio space for years to come. While a number of cities around the world are building new sound stages, Nick Hill says independent projections are that any new studio supply globally won’t keep up with demand growth.

He says that in parallel with its screen attraction priority, work to increase the ease of filming on location, and studio infrastructure development focus alongside the private sector, Auckland Unlimited is working with agency and industry partners on creative industry specific skills programmes to help the industry overcome a current shortage of skilled workers.

“We strongly believe in the long-term prospects of our screen industry to sustain pre-COVID-19 activity levels once we are through the immediate challenges. These may take two years to overcome, but the expansion of AFS is perfectly timed to be a significant factor in our region’s success when normality starts to return.”

Filmed at Auckland Film Studios

A diverse range of productions – from feature films to commercials – have been filmed at AFS. Some of those significant titles are: Falling Inn Love; The Shannara Chronicles; Adrift; Crouching Tiger, Hidden Dragon: Sword of Destiny; The Chronicles of Narnia: The Lion, the Witch and the Wardrobe; Emperor; and Xena: Warrior Princess.

For further information please contact

Screen Industry New Zealand Inc (SINZ) is pleased to announce that Matthew Horrocks has been contracted to research and evaluate potential membership organisational structures, in order to identify the best model for the screen sector’s proposed pan-sector body.  

Following the August 2020 release of the Screen Sector Strategy 2030, a call from the sector and a primary step in achieving the short term and overarching 10-year goals of the SSS2030 is the creation of a pan-sector body.  

At the final SSS2030 Facilitation Group meeting, after the delivery of the strategy to government and sector, it was agreed that the research and development of a pan-sector body would be the task of SINZ (Screen Industry New Zealand Inc.) to undertake.  

SINZ comprises key New Zealand screen industry guilds, associations and other entities, and has regrouped to lead the research into the best structure for a pan-sector group; further to the delivery of the Aotearoa New Zealand Screen Sector Strategy 2030’s key objectives, which included the establishment of a body for pan-sector representation.  

The research for the pan-sector group has been funded by the following organisations: NZ Stunt Guild, TVNZ, NZ Writers Guild, Screen Music and Sound Guild of NZ, Film Auckland, Pacific Island Screen Artists, Weta Workshop, ANZSA, Film Otago Southland, Auckland Screen Alliance, SPADA, Ngā Aho Whakaari, Script to Screen, NZ Game Developers, SIGANZ, AAANZ, DEGNZ and WIFT NZ. 

Matthew’s research project will be completed by the end of October 2021. 

MATTHEW HORROCKS - BIOGRAPHY

Matthew Horrocks has produced short films, documentaries, and feature films in New Zealand, including Beyond the Known World, New Zealand’s first NZ/Indian co-production. In the UK he worked in production roles on 28 Days Later and Calendar Girls. Most recently Matthew was responsible for the management of Screenwest’s development and production funding programs and managed Screenwest’s $16m WARFF fund.